Modern Magic.

A PRACTICAL TREATISE
ON
THE ART OF CONJURING.

BY
PROFESSOR HOFFMANN.

With 318 Illustrations.

WITH AN APPENDIX CONTAINING EXPLANATIONS OF SOME OF THE BEST KNOWN SPECIALTIES OF MESSRS. MASKELYNE AND COOKE.

Populus vult decipi: decipiatur.

AMERICAN EDITION.

GEORGE ROUTLEDGE AND SONS
London: Broadway, Ludgate Hill
New York: 9 Lafayette Place

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1

Considering the great antiquity and the unfading popularity of the magic art, it seems at first sight a matter of wonder that its literature should be so extremely scanty. In England, in particular, is this the case. Until within the last few years it would have been difficult to name a single book worth reading upon this subject, the whole literature of the art consisting of single chapters in books written for the amusement of youth (which were chiefly remarkable for the unanimity with which each copied, without acknowledgment, from its predecessors), and handbooks sold at the entertainments of various public performers, who took care not to reveal therein any trick which they deemed worthy of performance by themselves. Upon a little consideration, however, the scarcity of treatises on “White Magic” is easily accounted for. The more important secrets of the art have been known but to few, and those few have jealously guarded them, knowing that the more closely they concealed the clue to their mysteries, the more would those mysteries be valued. Indeed, the more noted conjurors of fifty years ago strove to keep the secret of their best tricks not only from the outside world, but from their confrères. At the present day the secrets of the art are not so well2 kept; and there is hardly a trick performed upon the stage which the amateur may not, at a sufficient expenditure of shillings or guineas, procure at the conjuring depôts. There being, therefore, no longer the same strict secresy, the literature of magic has improved a little, though it still leaves much to be desired. The general ambition of compilers seems to be to produce books containing nominally some fabulous number of tricks. In order to do this, they occupy two-thirds of their space with chemical and arithmetical recreations, and, as a necessary result, the portion devoted to conjuring tricks, properly so called, is treated so briefly and scantily as to be practically useless.

There is a vast difference between telling how a trick is done and teaching how to do it. The existing treatises, with few exceptions, do the former only. The intention of the present work is to do the latter also; to teach sleight-of-hand generally, as well as particular tricks; and to conduct the neophyte from the very A B C of the magic art gradually up to those marvels which are exhibited on the public stage. The student may rest assured that, if he will diligently follow the instructions here given, he will be able in due time, not merely to astonish his friends extempore with a borrowed coin or pack of cards, but to roll two rabbits into one, compel chosen cards to rise spontaneously from the pack, produce lighted lanterns from empty hats, and bowls of gold-fish from empty pocket-handkerchiefs; in a word, to execute all those wonders which he has hitherto deemed the exclusive property of the public performer. There are, of course, different degrees of natural aptitude. “Non cuivis hominum contingit adire Corinthum.” It is not every one that can be a Robert-Houdin or a Buatier, but, given the usual number of fingers and thumbs, fair intelligence, and a sufficiency of perseverance, any one who will may become at least a tolerable conjuror. Be it remembered, that we especially stipulate for perseverance. A wizard is not to be made in a day, and he who would attain excellence must be content to proceed as he would with music, drawing, or any other accomplishment—viz., begin at the beginning, and practise diligently until he attains the coveted dexterity. The student need not, however, wait the termination of the somewhat formidable course of study we have indicated, before he begins to astonish his friends; on the contrary,3 there are numerous tricks requiring very little manual dexterity, which are yet, if neatly performed, brilliant in effect. These simpler tricks, for which we shall give full instructions, will supply the beginner, even at the outset, with a fair programme, which he may from time to time enlarge as he feels able to undertake more elaborate illusions.

The first rule to be borne in mind by the aspirant is this: “Never tell your audience beforehand what you are going to do.” If you do so, you at once give their vigilance the direction which it is most necessary to avoid, and increase tenfold the chances of detection. We will give an illustration. There is a very good trick (which will be described at length hereafter) in which the performer, after borrowing a handkerchief, gives it to some one to hold. When it is returned, it proves to be torn into small pieces. It is again handed to the holder, who is instructed, in order to restore it, to rub it in a particular manner; but when again unfolded, it is found in a long strip. These effects are produced by successive adroit substitutions, and the whole magic of the trick consists in the concealment of the particular moment at which each substitution is effected. Now, if you were to announce to the audience beforehand that you were about to cause the handkerchief to appear in several pieces, or in a long strip, they would at once conjecture that the trick depended on an exchange, and their whole vigilance being directed to discover the moment of that exchange, you would find it all but impossible to perform the trick without detection. If, on the other hand, you merely roll up the handkerchief, and ask some one to hold it, the audience, not knowing what you are about to do, have no reason to suspect that you have handed him a substitute; and when the transformation is exhibited, the opportunity of detection will have already passed away.

It follows, as a practical consequence of this first rule, that you should never perform the same trick twice on the same evening. The best trick loses half its effect on repetition, but besides this, the audience know precisely what is coming, and have all their faculties directed to find out at what point you cheated their eyes on the first occasion. It is sometimes hard to resist an encore, but a little tact will get you out of the difficulty, especially if you have studied, as every conjuror should4 do, the variation and combination of tricks. There are a score of different ways of vanishing a given article, and as many of reproducing it; and either one of the first may be used in conjunction with either of the second. Thus, by varying either the beginning or the end, you make the trick to some extent a new one. The power of doing this readily is very useful, and among other advantages will enable you to meet an encore by performing some other trick having some element of similarity to that which you have just completed, but terminating in a different and therefore unexpected manner.

The student must cultivate from the outset the art of “talking,” and especially the power of using his eyes and his tongue independently of the movement of his hands. To do this, it will be necessary to prepare beforehand not only what he intends to do, but what he intends to say, and to rehearse frequently and carefully even the simplest trick before attempting it in public. It is surprising how many little difficulties are discovered on first attempting to carry into effect even the clearest written directions; and nothing but practice will overcome these difficulties. The novice may be encouraged by assuming, as he safely may, that the most finished of popular performers was once as awkward as himself, and were he to attempt any unfamiliar feat, would probably be as awkward still.

Before proceeding to the practice of the magic art, it will be well to give a short description of two or three appliances, which are of such constant use that they may be said to form the primary stock-in-trade of every conjuror. These are—a short wand, a specially adapted table, and certain secret pockets in the magician’s dress. There are numerous other appliances of very general use, which will be explained in due course, but those we have named are so indispensable that we could hardly complete the description of half-a-dozen tricks of any pretension without a reference to one or other of them. First in order comes

This is a light rod of twelve to fifteen inches in length, and about three-quarters of an inch in diameter. It may be of any material, and decorated in any manner which the fancy of the owner may dictate.5 To the uninitiated its use may appear a mere affectation, but such is by no means the case. Apart from the prestige derived from the traditional properties of the wand, and its use by the wizards of all ages, it affords a plausible pretext for many necessary movements, which would otherwise appear awkward and unnatural, and would thereby arouse the vigilance of the audience at possibly the most critical period of the trick. Thus, if the performer desires to hold anything concealed in his hand, by holding the wand in the same hand he is able to keep it closed without exciting suspicion. If it is necessary, as frequently happens, to turn his back upon the audience for an instant, the momentary turn to the table, in order to take up or lay down the wand, affords the required opportunity. We most strongly advise the would-be magician to cultivate from the outset the habitual use of the wand. Even where its employment is not absolutely necessary for the purpose of the trick, its use is in strict accordance with the character he professes to fill, and the dainty touch of the wand, for the supposed purpose of operating a magical transformation, assists materially in leading the audience to believe that such transformation did actually take place at that particular moment, instead of having been (as is really the case) secretly effected at an earlier period.

The next appliance to which we must draw the student’s attention is

There are plenty of good minor tricks which may be performed anywhere, and with little or no previous preparation, but as soon as the student has outgrown these humbler feats, and aspires to amuse his friends or the public with a pre-arranged séance, his first necessity will be a proper table. We do not now refer to the elaborate combination of traps, pistons, etc., which is used for stage performances. This will be duly described in its proper place. The table necessary for an average drawing-room exhibition differs from an ordinary table in two points only—its height, which should be six or eight inches greater than that of an ordinary table—and the addition of a hidden shelf or ledge at the back. Its form and dimensions are very much6 a matter of fancy and convenience. For most purposes nothing is better than a plain oblong deal table. It should have turned legs of some harder wood, stained and polished, and these, if it is desired to make the table portable, should be screwed into the four corners, so as to be readily taken off and put on again as may be required. In length the table may be three to four feet, and in breadth eighteen inches to two feet. Three feet by twenty inches is a very convenient size. At the back should be placed, about six inches below the level of the top of the table, a projecting shelf, six to eight inches in width, and extending nearly from end to end. This shelf, which is technically known as the servante, should be covered with thick woollen cloth, in order to deaden the sound of any object falling on it.

Some performers have a rim about half an inch high running along the outer edge of this shelf; while others, in place of the shelf, use a wooden tray, fixed in the same position, and one to two inches in depth. The manner of fixing the shelf is optional. In some tables it is made to slide in and out like a drawer; in others to fold up on hinges against the back of the table, or itself to form the back. This latter is the most convenient mode, as the opening made by the flap when let down gives access to the interior of the table, which forms a convenient receptacle for necessary articles. In this case, the upper part of the table is made box fashion; i.e., is bottomed throughout with wood on a level with the hinges of the servante, giving an enclosed space under the whole extent of the table. Over the table should be thrown an ordinary cloth table-cover, of such a size as to hang down about ten or fifteen inches at the front and sides, but not more than an inch or so on the side away from the audience. To prevent its slipping, the cloth may be fastened on this side with a couple of drawing pins. Where traps are used, and the cloth has therefore to be cut, the hanging cloth is dispensed with, and the table is covered with cloth glued on the top, with a margin round it, after the fashion of a card-table, and this may be done, if preferred, even where the table is without mechanism. The adoption of this plan allows of the introduction of gold mouldings, or other ornamentation, on the front and sides. In our own opinion, unless there is some special reason to the contrary in the mechanical arrangements of the table, the plain7 hanging cover is preferable, as being least suggestive of apparatus or preparation. The precise height of the table is best determined by the stature of the performer. The servante, or hidden shelf, should be just so high from the ground as to be level with the knuckles of the performer as his arm hangs by his side; and the top of the table should, as already stated, be about six inches higher than this. It will be found that this height will enable the performer secretly to take up or lay down any article thereon without stooping or bending the arm, either of which movements would suggest to the spectators that his hand was occupied in some manner behind the table. One of the first tasks of the novice should be to acquire the power of readily picking up or laying down any article on the servante, without making any corresponding movement of the body, and especially without looking down at his hands. If the performer is uncertain as to the precise whereabouts of a given article, he must ascertain it by a quick glance as he approaches his table, and not after he has placed himself behind it. From this moment he must not again look down, as if once the audience suspect that he has a secret receptacle behind his table, half the magic of his tricks is thenceforth destroyed.

An oblong box, twelve or fourteen inches in length by three in depth, well padded with wadding, and placed on the servante, will be found very useful in getting rid of small articles, such as coin, oranges, etc., as such articles may be dropped into the box without causing any sound, and therefore without attracting attention.

In default of a table regularly made for the purpose, the amateur may with little difficulty adapt an ordinary table for use as a makeshift. A common library or kitchen table having a drawer on one side, and raised on four bricks or blocks of wood to the requisite height will answer the purpose very fairly. The table must be covered with a cloth; and should have the drawer pulled out about six inches (the drawer side being, of course, away from the audience) to form the servante. A still better extempore conjuring table may be manufactured in a few minutes with the aid of a good-sized folding bagatelle board. Place the shut-up board on a card or writing table (which should be six or eight inches shorter than the board), in such manner that there may be left behind it (on the side8 which is intended to be farthest from the audience), a strip of table six or seven inches in width. This will form the servante. Throw an ordinary cloth table-cover over the bagatelle board, letting it hang down a foot or eighteen inches in front, and tucking its opposite edge under the hinder edge of the board, whose weight will prevent it slipping. If the cloth is too large, it must be folded accordingly before placing it on the table. The table thus extemporized will be of a convenient height, and will answer very fairly for the purposes of an ordinary drawing-room performance.

The conjuror, however, may be called upon to give a sample of his art when neither regular nor extemporized table is available; and even where he is sufficiently provided in this respect, he will frequently have occasion to produce or get rid of a given article without retiring behind his table to do so. The wizards of a century ago met this necessity by wearing openly in front of them a sort of bag or apron, called in the parlance of the French conjurors, a gibecière, from its supposed resemblance to a game-bag. This was used not only to carry the cups and balls, and other minor paraphernalia of the art, but for the purpose of procuring, exchanging, or getting rid of any small article at the pleasure of the performer. In fact, this bag supplied the place of the servante, which was not then known. It is hardly necessary to observe that the gibecière has been long since disused, and a performer who should now appear in a pocketed apron would run much risk of being taken for a hairdresser. Although, however, the gibecière is not now, as of old, worn openly, the conjuror of the present day is provided with certain secret substitutes, to explain which it is necessary to say a few words as to

It is not very many years since the orthodox dress of the conjuror was a long and flowing robe, embroidered more or less with hieroglyphic characters, and giving ample space for the concealment of any reasonable sized article—say from a warming-pan downwards. The very last specimen of such a garment, to the best of our belief, is, or was, worn by the magician attached to the Crystal Palace. We do not know whether he is compelled by the regulations of the establishment9 to wear such a robe; but if so, it ought to be liberally considered in his salary. The costume de rigueur of the magician of the present day is ordinary “evening dress.” The effect of the feats performed is greatly heightened by the close fit and comparative scantiness of such a costume, which appears to allow no space for secret pockets or other place of concealment. In reality, however, the magician is provided with two special pockets, known as profondes, placed in the tails of his dress-coat. Each is from four to six inches in depth and seven in width, and the opening, which is across the inside of the coat-tail, slanting slightly downwards from the centre to the side, is, like the servante, so placed as to be just level with the knuckles of the performer, as his hand hangs by his side. He can thus, by the mere action of dropping either hand to his side, let fall any article instantly into the profonde on that side, or take anything from thence in like manner. The action is so natural, that it may be used under the very eyes of the audience, at very small risk of their observing it; and if the performer at the same moment slightly turns his other side to the spectators, he may be perfectly secure from detection. Some performers have also a couple of pochettes (small pockets) made in the trousers, one behind each thigh. These are generally used for purposes of production only, the profondes being still employed for getting rid of any article, which, indeed, is their primary purpose, for they were originally made too deep (‘profonde,’ whence their name) to get articles easily out of them. Many professors, in addition to the pockets above mentioned, have also a spacious pocket, opening perpendicularly, inside the breast of the coat, under each arm, for the purpose of what is called “loading,” i.e., bringing a rabbit, or other article, into a hat, etc. Other pockets may be added, as the fancy or invention of the performer may dictate; but the above are those generally used.

It will also be found a great convenience to have an elastic band, about an inch in width, stitched around the lower edge of the waistcoat on the inside. When the waistcoat is in wear, the band makes it press tightly round the waist, and any object of moderate size—a card, or pack of cards, a handkerchief, etc.—may be slipped under it without the least risk of falling. Used in conjunction with the pockets before described, this elastic waistband affords a means of instantaneously effecting “changes” of articles too large to be palmed with10 safety; one hand dropping the genuine article into the profonde on that side, while the other draws the prepared substitute from under the waistband, a very slight turn of the body, towards the table or otherwise, sufficing to cover the movement.

With these few preliminary observations, we proceed to the practice of the art, commencing with the ever-popular class of illusions performed by the aid of playing cards.

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Among the various branches of the conjuror’s art, none will better repay the labour of the student, whether artist or amateur, than the magic of cards. It has the especial advantage of being, in a great measure, independent of time and place. The materials for half its mysteries are procurable at five minutes’ notice in every home circle; and, even in the case of those tricks for which specially prepared cards, etc., are requisite, the necessary appliances cost little, and are easily portable—two virtues not too common in magical apparatus. Further, the majority of card tricks are dependent mainly on personal address and dexterity, and, as such, will always be highly esteemed by connoisseurs in the art. Before very large audiences, indeed, the spectators being at a distance from the performer, much of the effect of a card trick is lost; which is probably the reason that, of late years, tricks of this class (with a few exceptions) have been rather neglected by professors; and that many feats which in the times of Conus and Comte were numbered among the sensations of the day, are now almost entirely forgotten. We shall endeavour in the following pages, after explaining the principles of sleight-of-hand applicable to cards, and giving instructions for some of the best of the more commonplace feats, to revive the recollection—and, we hope, the practice—of some of these brilliant performances.

The Cards.—The adept in sleight-of-hand should accustom himself to the use of every description of cards, as frequently none but the ordinary full-sized playing cards may be available. Where, however, the choice is open to him, he should use in the actual performance12 of tricks, cards of a smaller and thinner make. The common French cards answer the purpose very well. Among cards of English make, some of the best for the purpose are the small cards of the French pattern made by De La Rue & Co. for use in France, and those known as the “Tankerville” cards, both imported by Peck & Snyder, 124 Nassau Street, New York City, which are thin, well made, and of small size, but of the English pattern. In any case, it is well to use only the piquet pack of thirty-two cards (the twos, threes, fours, fives, and sixes being removed), the complete whist pack being inconveniently bulky for sleight-of-hand purposes.

To Make the Pass. (Sauter la coupe).—The effect of this sleight, which is the very backbone of card-conjuring, is to reverse the respective positions of the top and bottom halves of the pack, i.e., to make those cards which at first formed the lower half of the pack, come uppermost, when those cards which at first formed the upper half will of course be undermost. It is used by card-sharpers, immediately after the cards have been cut, to replace them in the position which they occupied before the cut, and from this circumstance derives its French name. There are various methods of producing this effect, some requiring the use of both hands, some of one hand only. These we shall describe in due order.

First Method. (With both hands).—Hold the pack in the left hand, lengthways, with the face downwards, as if about to deal at any game. In this position the thumb will naturally be on the left side of the pack, and the four fingers on the other. Insert the top joint of the little finger immediately above those cards which are to be brought to the top of the pack (and which are now undermost),13 and let the remaining three fingers close naturally on the remaining cards, which are now uppermost. (See Fig. 1.) In this position you will find that the uppermost part of the pack is held between the little finger, which is underneath, and the remaining fingers, which are upon it. Now advance the right hand, and cover the pack with it. Grasp the lower portion of the pack lengthways between the second finger at the upper and the thumb at the lower end, the left thumb lying, slightly bent, across the pack. Press the inner edge of the lower packet into the fork of the left thumb, so that the two packets will be as shown in Fig. 2. Next draw away the upper packet, by slightly extending the fingers of the left hand, at the same time lifting up the outer edge of the lower packet, till the edges of the two packets just clear each other (see Fig. 3), when by the mere act of closing the left hand they will be brought together as at first, save that they will have changed places. Do this at first very slowly, aiming only at neatness and noiselessness of execution. At the outset the task will be found somewhat difficult, but gradually the hands will be found to acquire a sort of sympathetic action; the different movements which we have above described will melt, as it were, into one, and the two packets will change places with such lightness and rapidity that they will seem to actually pass through each other. A slight momentary depression and elevation of the hands (apparently a mere careless gesture) in the act of making the pass will completely cover the transposition of the cards, which in the hands of an adept is invisible, even to the most watchful spectator.

The above is the most orthodox and the most perfect method of14 making the pass, and if the student be proficient in this, he need trouble himself very little about the remaining methods, which are inserted chiefly for the sake of completeness, being very inferior in all respects. Wherever in the course of this book the student is directed to make the pass, this first method will be considered to be referred to, unless otherwise specially expressed.

Before quitting the subject of this method, we should mention that it is sometimes necessary to cause the two halves of the pack to ‘kiss,’ i.e., to bring them face to face. This is effected by turning the original upper packet face upwards in the act of bringing the transposed packets together. When the pass in the ordinary form is fairly mastered, this slight variation will occasion no additional difficulty.

In this, as in all other branches of prestidigitation, the student will find it of the greatest possible advantage to practise before a looking-glass. By this means, better than any other, he will be enabled to judge how far his movements succeed in deceiving the eyes of a spectator. One caution may here be given with advantage: the student of legerdemain must learn to perform all necessary movements without looking at his hands, unless for some special reason he desires the spectators to look at them also. In every case, wherever the performer desires his audience to look, his own eyes must take that particular direction; and wherever he desires his audience not to look, he himself must carefully abstain from looking. Let us suppose, for instance, that a person has drawn a card, and has replaced it in the middle of the pack. The performer desires to bring it to the top, for which purpose it is necessary to introduce the little finger above the card in question, and to make the pass, as above15 described. When the card is replaced in the pack, the eyes of the drawer are naturally directed towards it; and if the performer were himself to look downward at the cards, it would multiply tenfold the chances of detection. He should pause for a moment, and, looking full at the person who drew the card, ask, “You are certain that you will know that card again?” or make any similar observation. As he speaks, a natural impulse will draw the eyes of the audience to his own face, and he may then make the pass without the slight necessary movement attracting the least attention. It is hard to believe, until tested by actual experience, what apparently obvious movements may be executed under the very noses of an audience, if only their attention is diverted at the right moment by a dexterous use of the eye and voice of the operator.

Second Method.—(With both hands).—Holding the pack in the left hand, as directed for the first method, grasp as before the lower portion of the pack lengthways between the second finger at the upper end and the thumb at the lower end; move the left thumb, which now takes no part in the operation, a little below the pack to be out of the way. Then slide the lower half of the pack a little to the left, and the upper half to the right till they just clear each other (see Fig. 4), when you will be enabled to place what was originally the upper half undermost, and vice versâ. This is the theory of the process, but in practice the necessary motions are not nearly so distinct. As you grow more and more expert, the necessary movement from right to left should become gradually smaller and smaller, until at last it is almost imperceptible. You must study to reduce this movement to the very16 minimum; and in order to do this, endeavour, after you have once seen clearly what it is you have to do, to keep the hands together as much as possible. Let the edge of the palm of the right hand rest gently, but firmly, on the first three fingers of the left hand, and let the contact thus made form a kind of hinge or fulcrum for the movement of the hands. When you become expert, you will find that the mere outward movement of the two hands upon this imaginary hinge (the cards being held lightly, and allowed to accommodate themselves to the movement) is sufficient to produce the effect.

We have above recommended you to keep the hands together as much as possible; but there are circumstances under which an ostentatious separation of the hands is equally effective. Thus, holding the cards as above directed, you may make the pass by (apparently) merely cutting the cards, lifting, in truth, the under instead of the upper half, the latter making way (by a slight and momentary extension of the left hand) to allow it to pass. You may also, when holding the cards as just cut (i.e., half the pack in each hand), make the pass in the act of bringing them together. To do this you should hold the right hand packet in such manner that the thumb and second finger may project a full inch beyond the face of the cards. At the moment of bringing the two packets together (which should be done with a sidelong motion of the right hand from right to left) this thumb and finger grip the other packet, and slide it out towards the left shoulder, leaving what was originally the right hand packet in the left hand. If this is done neatly, the movement is so subtle that the keenest eye cannot detect that the two packets have changed hands. Having effected the change, you may take your own time as to placing17 the now uppermost packet on the other. The circumstances of each trick will indicate the cases in which it may be desirable to adopt either of these variations.

Third Method. (With both hands.)—This is very similar to the first method, but much less neat. Take the cards, as in the former case, face downwards in the left hand, but instead of the little finger, insert the second and third fingers immediately above those cards which are to be brought to the top of the pack, and draw the first and fourth fingers below the pack. (See Fig. 5.) In this position, the lower half of the pack is held as in a forceps between the second and third and the first and fourth fingers. Now cover the pack with the right hand as directed for making the pass by the first method, but in this instance grasp therewith (between the first and second fingers at top and the thumb at bottom) the upper half of the pack. Raise this upper half slightly, to allow room for the movement of the lower half, and at the same moment slightly extend the fingers of the left hand. (See Fig. 6.) This will make the lower packet describe a quarter of a circle. As soon as it is clear of the upper packet, by reversing the motion (i.e., closing the fingers of the left hand, and at the same time lowering the right hand), the two halves of the pack will be again brought together, but that half which was originally undermost will now be uppermost. The movement will be understood more clearly on an inspection of the diagrams a and b (Fig. 6), a representing an end view of the two portions of the pack in their original position, and b of the same in their transposed18 position, the original lower portion being in each case indicated by the darker shade.

Fourth Method. (With the left hand.)—This is almost the same as the method last described, save that the left hand only is used. The upper packet, instead of being held in the right hand, is in this case clipped between the ball of the left thumb and the point where the thumb joins the hand. In other respects the movement is the same.

Fifth Method. (With the left hand.)—Take the cards in the left hand as before. Insert the third finger above the cards which are to be brought to the top (and which now form the lower half of the pack), and close the remaining three fingers on the top of the pack. (See Fig. 1, but suppose the third finger inserted in place of the fourth.) Now extend the fingers, which will make the upper part of the pack describe a semicircle (see Fig. 7), and at the same moment press downward with the thumb the left top corner of the lower packet. This will tilt up the opposite end of the lower packet, and give room, as you again close the fingers, for the upper packet to pass into the lower place. (See Fig. 8.) To bring the original upper packet (i.e., the one with the six of hearts at the bottom) from the position indicated in Fig. 7 to that which it occupies in Fig. 8, it is pressed slightly forward with the middle finger, and is thereby made to perform a semi-revolution, the third finger19 acting as pivot. The packet is by this means turned over endways, i.e., that end of the packet which was originally nearest to the performer is now farthest from him, and vice versâ. The movement is by no means easy to describe, but if followed step by step with the cards, will be readily understood.

This method of making the pass has a peculiarity which renders it specially useful in certain cases. When the upper half of the pack describes a semicircle, as above mentioned, the bottom card of such half is in full view of the performer, though the spectators see only the backs of the cards. The performer thus becomes acquainted, unknown to his audience, with that card which, after the pass, becomes the bottom card of the pack; which knowledge may occasionally be very useful. The movement of the cards in this mode of making the pass is very noticeable; but the circular sweep taken by the upper packet so confuses the eye, that the audience must be extremely keen-sighted to detect the effect of the movement, which, if neatly executed, has the appearance of a mere flourish. A quick sweep of the arm from left to right as the pass is made will greatly assist in covering the transposition of the cards.

Some perform the pass last described without causing the upper packet to make the semi-revolution above mentioned. The first finger in this case does not participate in the operation, but is left extended beyond the upper end of the pack.

Sixth Method. (With either hand.)—Take the pack in either hand, as if you were about to stand it on end on the table, the20 backs of the cards being next to the palm. Insert the third finger between the two halves of the pack, and draw the second and fourth fingers behind the pack. In this position, the uppermost half of the pack is held between the third finger and the second and fourth fingers. Clip the lower or front half of the pack at its two top corners between the thumb and the first finger. (See Fig. 9.) Now extend the second, third, and fourth fingers, which will carry with them the upper half of the pack. As soon as it is clear of the lower half, again close the fingers, thereby bringing the upper packet to the bottom. (See Fig. 10.) This mode of making the pass may be employed as you place the pack on the table, the movement for that purpose serving to cover that by which the cards are transposed. If no table is at hand a quick movement of the hand and arm from right to left, at the moment when the pass is made, will be found to answer equally well.

Seventh Method. (With the right hand.)—This is a mere makeshift for the pass proper, though its effect is the same. It is performed in picking up the cards from the table after they have been cut, and left, as is usual, in two heaps. The performer picks up, as in the ordinary course,21 the bottom half of the pack (which should properly be placed uppermost after the cut); but, instead of picking them up in the usual way, he picks them up with the second, third, and fourth fingers under, and the first finger above the cards. In placing them apparently upon the upper heap, he tilts up the right hand edge of that heap with the tip of the first finger, and with the remaining fingers slides the heap he already holds underneath it (see Fig. 11), so that the cards are again precisely as they were before the cut. This sham mode of making the pass is rarely used by conjurors, but is said to be frequently employed by card-sharpers.

To “Force” a Card.—By this phrase is signified the compelling a person to draw such card as you desire, though he is apparently allowed absolute freedom of choice. Your first step is to get sight of the bottom card, or, if you want to force a predetermined card, to get that card to the bottom. Having done this, take the pack in the left hand, and insert the little finger half-way down, in readiness to make the pass. Make the pass by the first method, but, before uniting the two halves of the pack in their new position, again slip the little finger of the left hand between them. (The two halves will now be united at the end which is towards the spectators, but divided by the little finger at the end nearest to yourself; and the original bottom card, which is the one you desire to force, is now the bottom of the top heap, resting on the little finger.) Using both hands, with the thumbs above and the fingers below the pack, spread out the cards fanwise from left to right, at the same time offering them to the person who is to draw, and requesting him to select a card. Keep the little finger of the22 left hand still on the face of the card to be chosen, or you may now use, if more convenient, the same finger of the right hand, both being underneath the cards. As the person advances his hand to draw, move the cards onward with the thumb, so that the particular card shall reach his fingers just at the moment when he closes them in order to draw; and, if you have followed these directions properly, it is ten to one that he will draw the card you wish. It may possibly be imagined that forcing is a very difficult matter, and requires an extraordinary degree of dexterity; but this is by no means the case. The principal thing against which a beginner must guard, is a tendency to offer the particular card a little too soon. When the cards are first presented to the drawer, the pack should be barely spread at all, and the card in question should be ten or fifteen cards off. The momentary hesitation of the drawer in making his choice will give time, by moving the cards quicker or slower, as may be necessary, to bring that card opposite his fingers at the right moment. Should the performer, however, miscalculate his time, and the card pass the drawer’s fingers before the choice is made, he need not be embarrassed. Still keeping the little finger on the card, he should sharply close the cards, and making some remark as to the drawer being “difficult to please,” or the like, again spread them as before, and offer them for the choice.

A moderate degree of practice will make the student so proficient that even a person acquainted with the secret of forcing will have to be very wide-awake in order not to take the desired card. You will, however, sometimes find a person, suspecting your design and wishing to embarrass you, suddenly jerk his hand away from the card which he was apparently about to take, and draw another from a different part of the pack. In the great majority of tricks this is of little consequence, inasmuch as there are numerous ways (which will be hereafter explained) of ascertaining what the drawn card was; but there are some illusions which depend upon the drawer taking a card similar in suit and number to one already prepared elsewhere for the purpose of the trick. In this case it is, of course, absolutely necessary that the card drawn should be the right one; and as even the most accomplished performer cannot always be certain of forcing a single card, another expedient must be used in order to ensure23 success. This is made absolutely certain by the use of what is called a “forcing pack”—i.e., a pack in which all the cards are alike. Thus, if the knave of hearts is the card to be drawn, the whole pack will consist of knaves of hearts, and the drawer may therefore do his utmost to exercise a free choice, but the card which he draws will certainly be the knave of hearts, and no other. Where more than one card is to be drawn, as, for instance, in the well-known trick of the “rising cards,” the pack may consist, instead of similar cards throughout, of groups of two or more particular cards. Thus, one third may be knaves of hearts, one third aces of diamonds, and the remaining third sevens of clubs—the cards of each kind being together. With the aid of such a pack, it will require very little skill to ensure one of each sort being drawn.

To make a “False Shuffle.”—False shuffles are of two kinds, according to the object with which they are made. Those of the first kind are designed simply to keep in view a particular card or cards, the remainder of the pack being really shuffled. The second kind are designed to keep the pack in a pre-arranged order, and are shuffles in appearance only, all the cards being brought back to the same relative positions which they occupied before the shuffle.

First Method. (To keep a particular card or cards in view.)—Take the pack in the left hand. If the card to be kept in view is not already on the top of the pack, insert the little finger of the left hand immediately above that card, and make the pass in order to bring it to the top. Transfer this card to the right hand, and slide the remaining cards upon it, by little successive parcels of six or eight cards, one above the other. The known card will now be at the bottom. Return the pack to the left hand. Slide off three or four of the top cards into the right hand, and place the remaining cards, by parcels of six or eight as before, alternately above and below these top cards, till you come to the last card, which is the special one, and which you will place above or below as occasion may require. If there are three or four cards to be kept in view, it makes no difference in the mode of operation, save that you must treat those cards throughout as the single card, and keep them together accordingly.

Second Method. (To keep a particular card in view.)—Bring the24 card in question, as before directed, to the top of the pack. Take the pack in the left hand, holding it upright on its side, the edges of the cards resting on the palm, the four fingers (which should be slightly moistened) being at the back or top, and the thumb on the face of the pack. Now, with the thumb and middle finger of the right hand (see Fig. 12) lift out edgeways that portion of the cards which now forms the middle of the pack, and drop them by packets of five or six at a time upon the face of the cards remaining in the left hand, moving aside the left thumb to allow of their passage. The pressure of the fingers will always keep the top card in its place, however many of the remaining cards you lift out with the right hand; and as you only shuffle on to the face of the pack, however often you repeat the process, this card will still remain at the top.

Third Method.—(To retain the whole pack in a pre-arranged order.)—Take the pack in the left hand, slide off with the left thumb five or six of the top cards into the right hand, and place the remaining cards by parcels of five or six at a time (apparently) alternately above and below these first cards, as in the ordinary mode of shuffling. We say apparently, for in reality, although you go through the motion of placing every alternate packet above the cards in the right hand, you do not leave it there, but draw it back again with the thumb on to the top of the cards in the left hand, and then place it, by your next movement, under the cards in the right hand. The result is, that the cards in the left hand, instead of being placed alternately above and below the cards in the right hand, are really all placed below, and in precisely the same order which they occupied at first.

25 Some persons are in the habit of making the genuine shuffle, of which the above is an imitation, from the right hand to the left instead of from the left hand to the right, as above described. It may be stated, once for all, that wherever it is found more easy by the student to do with the right hand that which he is here instructed to do with the left, and vice versâ, there is not the least objection to his doing so, though the mode here indicated is that which, it is believed, will be found most convenient by the generality of persons.

Fourth Method. (To retain the whole pack in a pre-arranged order.)—Take the upper half of the pack in the right hand and the lower half in the left, the thumb in each case being above and the fingers below the cards. Place the two portions edge to edge, and work in the edges of the cards in the right hand half an inch or so between the edges of those in the left, spreading the cards in the meanwhile to facilitate the introduction; but let the right hand cards project about an inch above the top edges of those in the left hand. (See Fig. 13.A) If you were to close up the cards in the relative positions they now occupy, they26 would be really shuffled. To prevent their being so in fact, as well as in appearance, you clip lengthways between the thumb and second finger of the right hand the cards of the packet on that side, and bend them sharply downwards and outwards. This again disengages them from the other packet, on the top of which you quickly slide them, and press the whole square.

Fifth Method. (To retain the whole pack in a pre-arranged order.)—Make the pass so as to bring the lower half of the pack uppermost. Take the pack in the right hand, keeping the two portions of the pack separated by the little finger of that hand. Hold the cards face downwards a few inches from the table, and let fall, by five or six at a time, those cards which now form the lower half of the pack. You should so arrange that these cards form four little heaps, falling in the order indicated by the accompanying figure (Fig. 14). Thus the bottom cards must fall at 1, the next lowest at 2, the next (comprising all that remain of the lower packet) at 3, and the remaining cards (being the whole of the upper part) at 4. Now (with the left hand) quickly place packet 1 on packet 4, and (with the right hand) packet 2 on packet 1, and finally (with the left hand) packet 3 on the top of all, when the cards will occupy precisely the same relative positions as at first. The use of the two hands alternately, coupled with the rapidity of the performer, gives to his motions an appearance of carelessness which effectually baffles the spectators, and prevents their suspecting that the heaps are re-arranged in any determinate order.

Sixth Method.—This also retains the cards in their pre-arranged order, with this qualification, that an indefinite number are transferred from the top to the bottom of the pack, the effect being as if the cards had been cut without being shuffled. Holding the cards as directed for the last method, you drop them in four heaps as before, but beginning from the left, and proceeding straight onwards in27 regular succession. Now place the first heap on the fourth or right hand heap, and the second heap on the first heap, finally placing the third heap either above or below the pile thus made. Where it is necessary, after using this shuffle, to bring back the cards to the precise condition in which they were at first, this object may be effected by the use of the “bridge,” hereafter described.

To “Palm” a Card.—Bring the card which you desire to palm (by the pass or otherwise) to the top of the pack. Hold the pack face downwards in the left hand, covering it lengthways with the right. With the left thumb push the top card till it projects about an inch beyond the edge of the pack. With the third finger of the left hand, which is now immediately below the card, press it upwards into the right hand, which should half close over it. You must not mind about bending the card, which will lie curled up against the inside of the hand. You may either let the hand drop negligently to your side, or, still better, take the pack between the fingers and thumb of the same hand (see Fig. 15) and offer it to be shuffled. This will give you the opportunity, often very valuable, of seeing what the card in question is. When it becomes necessary to return the card to the pack, the mere motion of taking the pack in the right hand, whether from the left hand or from the table, will effect that object in the most natural manner. If the card retains a curve from its bent position in the hand, you may readily straighten it by ruffling the cards, as described in the next paragraph. If the performer is fortunate enough to have a large hand, a complete pack of cards may be palmed in this manner without difficulty.

To “Ruffle” the Cards.—Hold the pack tightly by its lower end between the fingers and thumb of the left hand, the thumb28 being above and the fingers below the cards. Cover the pack lengthways with the right hand, and clip the cards between the fingers and thumb as if you were about to make the pass by the first method. Keep the thumb unmoved, but draw the fingers smartly upwards, so as to bend the cards slightly. The springing of the cards as they escape one by one from the pressure of the fingers, and again straighten themselves, causes a peculiar sharp sound.

The ruffle may also be executed with one hand only. Take the pack between the middle finger at top and the thumb at bottom, the first finger resting in a bent position on the back of the cards. Press strongly with the thumb, so as to bend the two ends of the cards smartly outwards, allowing them one by one to escape from the middle finger, and simultaneously straighten the first finger, so as to clip the lower end of the cards between that finger and the thumb.

The ruffle is a mere flourish, but it is by no means without its value. We have indicated in the last paragraph one of its uses, viz., to straighten a card which has been palmed. Apart from this, there are many tricks in which it is desirable to mislead the spectator as to the particular movement by which, or the point of time at which, a particular effect was produced. This may be effected by a judicious use of the ruffle. Suppose, for instance, that the trick consists in magically bringing a given card to a particular position in the pack, and that the performer has already, without the knowledge of his audience, placed the card in the required position. If, before showing that it is so placed, he ostentatiously ruffles the cards, nine out of ten of the audience will be persuaded that this noisy movement is in some way the cause of the transposition, and will be proportionately the less likely to discover the true explanation of the feat.

To “Change” a Card. (Filer la Carte.)—Some of the most brilliant effects in card-conjuring are produced by the aid of this sleight, by means of which a card, fairly exhibited, is forthwith apparently transformed to a different one. There are several modes of producing this effect.

First Method.—Hold the pack in the left hand, as though about to deal the cards. Hold the card to be changed in the right hand,29 between the first and second fingers. (See Fig. 16.) The card into which it is to be changed should have been previously placed (secretly, of course) on the top of the pack. Push this card a little forward with the left thumb, so as to make it project about three-quarters of an inch beyond the remaining cards. Bring the hands close together for an instant, and in that instant place the card held in the right hand under the pack, (the second, third, and fourth fingers of the left hand opening to receive it, and the remaining finger making way for it as soon as it reaches the pack). Simultaneously with this movement, the thumb and first finger of the right hand must close upon the card projecting from the top of the pack, and, as the hands separate, carry with them that card in place of the one which the right hand originally held. A half turn of the body to the left or right, a quick downward sweep of the right hand, or any other rapid gesture, will assist in covering the momentary bringing together of the hands. In some cases it is better that the right hand alone should move, the left hand being held stationary; in other cases the left hand (the one holding the pack) should make the movement, the hand holding the single card being motionless. It will be well to practise both these modes of making the change. The direction in which the performer turns, in order to place the card on his table, or the like, will indicate which is the best mode to use in any given case.

Second Method.—This is a very inferior mode of performing the change, but may be useful as a makeshift while the student is acquiring the greater dexterity required for the former method. Hold the pack upright towards the audience, with the card to be changed at the bottom (and therefore in full view), and the card for30 which it is to be changed at the top. The pack should be supported by both hands, and the two cards named should project about half an inch to the right beyond the remainder of the pack, the front or bottom card being between the first and second fingers, and the back or top card between the thumb and first finger of the right hand. (See Fig. 17.) Call attention to the bottom card; make a downward sweep with the pack so as to turn the faces of the cards towards the ground, and at the same moment draw off with the right hand the top card, which the audience will imagine to be the one they have just seen at the bottom.

Third Method.—Hold the card to be changed face downwards between the thumb and first and second fingers of the right hand, the thumb being above and the two fingers below the card. Hold the pack in the left hand, as if about to deal the cards, the card for which that first mentioned is to be changed being on the top. Bring the hands rapidly together, pushing the top card with the left thumb about an inch beyond the rest of the pack, and at the same moment place the card held in the right hand with a sliding motion upon the top of the pack. (See Fig. 18.) Both this card and the original top card (which is now second) will now be between the two fingers and thumb of the right hand. Press lightly on the top card with the left thumb to keep it back, and quickly draw away the right hand, pressing gently upwards with the two fingers on the face of the second card, which you will thereby draw away in place of the top card. If neatly done, the keenest eyesight cannot detect the substitution of the second card. Your only difficulty will be to find a colourable pretext for31 placing the card you hold on the top of the pack. This achieved, the rest is easy. The nature of the trick you are performing will frequently suggest a plausible excuse. A very successful plan is to boldly request the company to observe that you do not do that which you at the same moment actually do. “You will observe, ladies and gentlemen,” you remark, “that I do not, even for one moment, replace the card in the pack, but simply,” etc., etc. At the words “replace the card in the pack,” the hands are brought together, and make the change. The action, suiting the words, is taken by the audience as an indicative gesture only, and thus the change is effected under their very eyes without exciting the least suspicion. In this mode of making the change, you should aim at being easy and natural, rather than very rapid. The main movement (that which brings the hands together) is undisguised, but attributed to a fictitious motive; and the subsidiary movement of the fingers, which actually effects the change, is so slight as to be practically imperceptible.

Fourth Method. (With one hand only.)—Take the pack, face downwards, in the left hand, as if about to deal. Place the card to be changed on the top, and the card for which it is to be changed next below it. With the left thumb push forward the top card to the extent of half its width, letting it rest on the tips of the fingers. This will leave one-half of the second card exposed. By a reverse movement of the thumb, draw back this second card till its outer edge is just clear of the inner edge of the top card. Now press the second card downwards with the thumb so as to bring its opposite32 edge just above the level of the top card; then push it back into its place, but this time above instead of below the top card.

Fifth Method. (To change a given card without the aid of the pack.)—A card having been chosen and returned to the pack, make the pass to bring it to the top, and palm it. Give the pack to be shuffled, and when it is returned pick out hap-hazard any card you please, and holding it up between the first finger and thumb of the right hand (in which is the palmed card), announce boldly that that was the card chosen. You will, of course, be contradicted, whereupon you pretend to be disconcerted, and ask if the person is quite certain that that is not the card he drew, and so on. Meanwhile, you take the card, face downwards, between the first finger and thumb of the left hand, whence you immediately take it again in the right hand (see Fig. 19), taking it so as to bring the palmed card immediately over it, when the two will at a little distance appear to be only one card. You then say, “Well, if you seriously assure me that it is not the right card, I must endeavour to change it to the right one. May I ask what your card was?” When you are told, you continue, “It is a very simple process. I have merely to lay the card upon my hand, so, or if you prefer it, I will change it in your own hands. Oblige me by holding the card face downwards. I think you said your card was”—(say) “the ace of spades? Change!” As you say the words, “lay the card upon my hand,” you place the two cards for an instant on the palm of the left hand (see Fig. 20), and draw off rapidly the top card, which is the right one, leaving the other palmed in the left hand, which then drops to your side. The audience do not suspect33 that the change is already effected, or that you have had more than one card in your hand throughout, and if you have performed the trick neatly, will be utterly nonplussed when the transformation is revealed. You may, if you please, conclude by asking what card the audience imagine that they first saw, and, when told, remarking that they must have been mistaken in their impression, as that card has been in Mr. So-and-so’s tail-pocket all the evening, as you prove by plunging your left hand (in which the card remains palmed) into the pocket, and producing it accordingly.

Sixth Method. (To change several cards at once.)—This sleight is extremely useful in cases where you desire, without the knowledge of the audience, to gain possession of a given number of selected cards. Palm in the left hand, face downwards, a number of cards equal to that which you desire to abstract. Take the cards which you desire to gain possession of between the second finger and thumb of the left hand (after the manner of the single card in Fig. 19). Cover these cards lengthways with the right hand, and palm them in that hand34 (see Fig. 21), at the same moment seizing crossways, with the fingers and thumb of the same hand, the cards already palmed in the left hand (which to the eyes of the spectators will be the same they have just seen), and throw them face downwards on the table.B

To Get Sight of a Drawn Card.—The power of doing this is a sine quâ non for the conjuror. As already mentioned, even the most expert operator cannot be absolutely certain of “forcing” the card which he desires, and a novice is very likely indeed to find a wrong card occasionally drawn. It is therefore necessary to be provided with a remedy for such a contretemps. One mode of meeting the difficulty is to allow the card to be returned to the pack, make the pass to bring it to the top, and palm it, immediately giving the pack to be shuffled, and in so doing to get sight of the card, which remains in your own hand, and can in due time be reproduced in any way you please. (See Fig. 15.) For the present purpose, we assume that you do not desire to retain possession of the card, but merely wish to know its suit and value. These may be ascertained as follows:—

First Method.—Ask the drawer to return his card to the pack, which you offer for that purpose in the left hand, spreading the pack fanwise, in order that he may insert the card where he pleases. As he replaces the card, slip the little finger of the left hand below it, and close the fan. You now have the pack held in the palm of the left hand, but divided just below the chosen card by the little finger, the three remaining fingers being35 on the top. Offer the cards to be shuffled, or make any gesture you like with the pack, at the same moment slightly straightening the fingers. The effect of this movement will be to lift the upper packet, and thus open the pack bookwise, the opening being towards yourself, and the lowest card of the top heap, which is the card you desire to ascertain, being for the moment in full view. (See Fig. 22.)

Second Method.—Proceed as above, but instead of opening the pack to get sight of the card, bring it secretly to the bottom by the pass, and offer the cards to be shuffled, holding them at the upper end between the thumb and first and second finger of the right hand, and slanting from you at an angle of 45°, as in Fig. 15. As the faces are towards you, you have a full view of the card. Even if it should suggest itself to the audience that you are able to see the bottom card, as they are not aware that the chosen card is now in that position, there is nothing to excite their suspicion.

You may, by way of variety, instead of offering the cards to be shuffled, hold them in the right hand, and make the single-handed “ruffle” above described, at the same time turning their faces slightly towards yourself. You may effect the same object, even more simply, by the mere act of passing the pack from the one hand to the other, keeping the bottom card turned inwards as above.

To “Slip” a Card.—Hold the pack in the left hand having first slightly moistened the fingers, which should rest upon the back of the cards. Open the pack bookwise, at an angle of about 45°, holding the upper packet lengthways between the thumb and second finger of the right hand. Draw this upper packet smartly upwards to a distance36 of two or three inches from the lower packet. (See Fig. 23.) The top card of the upper packet, being held back by the pressure of the fingers upon it, will not move upwards with the rest of the packet; but immediately the remaining cards are clear, will fold itself down on the top of the lower packet. If the top card of the lower packet be examined before and after the slip, the card will appear to have changed, the fact being that the original top card becomes the second after the slip, the slipped card covering it.

To Draw Back a Card. (Glisser la carte.)—The performer shows the bottom card, then dropping the pack into a horizontal position, face downwards, he draws out, with the thumb and second finger of the other hand, apparently that card, but really the next above it. This is effected as follows:—Hold the pack upright in the left hand between the first finger and thumb, the back of the cards towards the palm, and the thumb and finger about the middle of each side of the pack. Let the third finger, which should be previously moistened, rest on the face of the cards. (See Fig. 24.) You will find that in this position, by moving the third finger, you can draw back the bottom card about an inch below the remaining cards, and37 thereby leave exposed a corresponding portion of the next card. (See Fig. 25.) This is the whole mechanism of the operation. You must, of course, take care, after showing the bottom card, to turn the pack downward before you slide back that card in order to draw the next card in its place.

To “Turn Over” the Pack.—There are certain tricks (as, for instance, where you have undertaken to produce a given card at a particular number in the pack) for which it is necessary to deal a certain number of cards from the top, and then (without the spectator’s knowledge) to continue the deal from the opposite end of the pack. As a necessary preliminary, you must “face” the cards—i.e., bring the upper and lower portions face to face. This you have already been taught to do by means of the pass. Whichever way the pack is turned, it will now, of course, show backs only. Take the pack flat in the left hand, the fingers clipping it rather tightly, but without the aid of the thumb. Pass the thumb underneath, and with the ball of the thumb press the pack smartly upwards (see Fig. 26), when it will describe a semi-revolution on its longer axis, the lower face of the pack being thereby brought uppermost. If performed with the hand at rest, the movement is very perceptible; but if you at the same time make a semi-circular sweep of the hand and arm from left to right, the smaller movement of the pack in the hand is much less likely to attract notice.

To Spring the Cards from one Hand to the Other.—This is a mere flourish, and belongs rather to the art of the juggler than to that of the magician; but it is so frequently exhibited by conjurors that a work on magic would hardly be complete without some notice of it. The cards are held in the right hand, between the38 tips of the second and third finger at the top, and the thumb at the bottom. If the thumb and fingers are now brought slowly nearer together, so as to bend the cards slightly, they will one by one, in quick succession (beginning with the bottom card) spring away from the pack; and if the pressure be continued, the whole of the cards will spring away one after the other in this manner. If the left hand be held at ten or twelve inches distance from the right, with the fingers slightly bent, the released cards will be shot into the left hand, which, as the last cards reach it, should be rapidly brought palm to palm with the right, and square up the pack to repeat the process. By giving the body a quick half turn to the right as the cards are sprung from one hand to the other, you may make the hands (and with them the moving cards) describe an arc of about two feet, and so deceive the eye of the spectator into the belief that the hands are that distance apart, though in reality, as they both move together in the same direction, they retain throughout their original relative distance of ten or twelve inches.

To Throw a Card.—This sleight also belongs rather to the ornamental than to the practical part of conjuring, but it is by no means to be despised. It is a decided addition to a card trick for the performer to be able to say, “You observe, ladies and gentlemen, that the cards I use are all of a perfectly ordinary character,” and by way of offering them for examination, to send half-a-dozen in succession flying into the remotest corners of the hall or theatre.

The card should be held lightly between the first and second fingers, in the position shown in Fig. 27. The hand should be curved inward toward the wrist, and then straightened with a sudden jerk, the arm being at the same time shot sharply forward. The effect of this movement is that the card, as it leaves the hand, revolves in the plane of its surface in the direction indicated by the dotted line, and39 during the rest of its course maintains such revolution. This spinning motion gives the flight of the card a strength and directness which it would seem impossible to impart to so small and light an object.

A skilled performer will propel cards in this way to a distance of sixty or eighty feet, each card travelling with the precision, and well-nigh the speed, of an arrow shot from a bow. The movement, though perfectly simple in theory, is by no means easy to acquire in practice. Indeed, we know no sleight which, as a rule, gives more trouble at the outset; but, after a certain amount of labour with little or no result, the student suddenly acquires the desired knack, and thenceforward finds no difficulty in the matter.

The Bridge.—The object of the bridge is to enable the performer, with ease and certainty, to cut or otherwise divide the pack at a given card. It is made as follows: Holding the cards in the left hand, with the thumb across the pack, the performer covers them for an instant with his right hand, as if about to make the pass. Grasping the pack between the thumb and second finger of this hand, he bends the whole of the cards slightly inwards over the first finger of the left hand, immediately afterwards bending the upper or outward portion of the pack backwards in the opposite direction. The effect of the double movement is that the two halves of the pack are bent in a double concave form, thus )(, though in a much less degree. If the cards be now cut, the concave portions, instead of being, as at first, back to back, will be face to face, thus (), leaving in the centre of the pack an elliptical opening, of a maximum width of about an eighth of an inch. This slight hiatus in the middle will generally cause a person who is invited to cut to do so at that particular point, and will in any case enable the performer either to cut or to make the pass at that point with the greatest ease. The cases in which the bridge may be employed with advantage will be more particularly indicated when we come to practically apply the processes already described, but it has a special use which may be at once mentioned. It will be remembered that some of the false shuffles already described leave the cards as if cut, though they in other respects retain their pre-arranged order; and it therefore becomes necessary40 to again cut them at a particular point, in order to bring them back to their original condition. This point is ascertained by the use of the bridge. The cards are first bent in the manner above described; the false shuffle is then made, leaving the cards in effect cut; but by again cutting or making the pass at the bridge, they are once more precisely as at first.

We have endeavoured to be as explicit as possible in the foregoing description of the different sleight-of-hand processes, so that the reader may, by following our instructions closely, be able to teach himself, unassisted, to perform the various movements described. We have done our best to make our descriptions intelligible, and trust that we have fairly succeeded. We should, however, strongly advise any student who desires to make rapid progress to take, if possible, a few preliminary lessons under the personal guidance of a competent performer, professional or amateur. It is an old saying that an ounce of example is worth a pound of precept, and a reader who has once or twice seen the processes we have described practically illustrated by skilful hands, will not only avoid the difficulties which are sure to be at first found in even the clearest written instructions, but will escape the formation of bad habits, which it may take much time and trouble to eradicate. Should the novice seek such assistance, he must not expect to find that any one performer uses indifferently all the processes we have described. Every Professor has his own favourite methods of procedure, and, generally speaking, pours scorn and contumely upon all others; or, in the words of Byron (a little altered)—

The student who commences his labours without such assistance must make his own selection. In the “pass” we should recommend him to stick to the first method, the remaining passes being rather curious than useful. Among the false shuffles, the first, third, fifth, and sixth will be found the most effective. For the remaining processes he may be guided by his own taste, and the greater or less facility with which his fingers adapt themselves to one or the other of them.

41 The various sleights above described will cost the student some time and perseverance before they are fairly mastered, and until they are so it is hopeless to attempt any of the more brilliant feats. For his amusement in the meantime, we subjoin a few tricks for which sleight-of-hand is not necessary, but which, if performed with neatness and tact, will cause considerable astonishment to the uninitiated.

42

There is a large class of tricks which may be described as consisting of two elements—the discovery of a chosen card by the performer, and the revelation of his knowledge in a more or less striking manner. We propose to give, in the first place, three or four methods of discovering a given card, and then a similar variety of methods of concluding the trick. It must be remembered that for our present purpose we exclude all tricks for which any special dexterity is requisite. There will be little that is absolutely novel in this chapter, but it will be for the student to supply the want of freshness in his materials by the ingenuity of his combinations.

Simple Modes of Discovering a given Card. First Method.—Hold the pack face downwards in the left hand, having previously noticed the bottom card. Secretly draw down this card about three-quarters of an inch, and hold the part so drawn down between the thumb and fourth finger of the right hand, the palm of the right hand being above the cards. (See Fig. 28.) Now, with the tip of the first or second finger of the right hand, draw down the cards one by one about half an inch (beginning with the top card, and so on), inviting your audience to stop you at any card they may choose. When they do so, draw down all the cards, as far as you have gone, completely away from the remaining cards; but with them draw down at the same time the bottom card. This card, coalescing with the upper portion, will be, to the eyes of the spectators, that at which you were directed to stop. Holding the cards with their backs towards you, request them to observe what the card is. The pack may now43 be shuffled to any extent, but, being acquainted with the card, you can find or name it at pleasure.

The above may be employed as a means of “forcing,” where it is essential to force a given card, and you are not sufficiently proficient to feel certain of effecting that object by the regular method. Thus, suppose that the card which you desire to force is the seven of diamonds, you place that card at the bottom of the pack, and proceed as above directed. When the audience desire you to stop, you draw off the upper packet, and with it the seven of diamonds, which will thereby become the bottom card of that packet. You request them to note the card, and at once hand the pack to be shuffled. This is a very simple and easy mode of forcing, but it is very generally known, and it would not, therefore, be safe to use it before a large or very acute audience.

Second Method.—Deal the cards into three packs, face upwards, and request a spectator to note a card, and remember in which heap it is. When you have dealt twenty-one cards, throw the rest aside, these not being employed in the trick. Ask in which heap the chosen card is, and place that heap between the other two, and deal again as before. Again ask the question, place the heap indicated in the middle, and deal again a third time. Note particularly the fourth or middle card of each heap, as one or other of those three cards will be the card thought of. Ask, for the last time, in which heap the chosen card now is, when you may be certain that it was the card which you noted as being the middle card of that heap.

This same effect will be produced with any number of cards, so long as such number is odd, and a multiple of three. The process and result will be the same, save that if fifteen cards are used each44 heap will consist of five cards, and the third card of each will be the middle one; if twenty-seven cards, each heap will consist of nine cards, and the fifth will be the selected one, and so on.

Third Method.—Take any number of the cards, and deal them face upwards upon the table, noting in your own mind the first card dealt. Ask any number of persons each to note a card, and to remember at what number it falls. When you have dealt all the cards you first took in your hand, take them up again, without disturbing their order, and turn them face downwards. In order to show that the trick is not performed by any arithmetical calculation (you should lay great stress upon this, the fact being precisely the reverse), invite the company to take any number they choose of the remaining cards (such number being unknown to you), and place them either above or below the cards you have dealt. Allow the cards to be cut (not shuffled) as many times as the audience please. You now, for the first time, ask each person what was the number of his card, and, on being informed, again deal the cards, turning them face upwards. When the original first card appears, count on (silently) from this as number one to the number mentioned, at which number the noted card will again appear. Should the whole of the cards be dealt out without reaching the required number, turn the cards over again, and continue from the top of the pack until that number is reached.

Having indicated how a card may be discovered, we proceed to describe various modes of disclosing the card thus ascertained.

First Method.—Get the card to the top of the pack. Give the pack to some person to hold. The cards should be face upwards, so that the chosen card will be undermost, with the thumb of the holder above and the fingers below the pack. The fingers should extend under the pack for about an inch, but the thumb above not more than half an inch. Request the person to nip the cards tightly, and as he does so give them a smart downward rap with your forefinger, which will knock all the cards out of his hand with the exception of the lowest card, which will be retained by the greater friction of the fingers, and will remain staring him in the face. This is a very old and simple finish, but it appears marvellous to those who witness it for the first time.

You may, if you prefer it, hold the cards yourself as above directed,45 and allow another person to strike them downwards. It is well to moisten the fingers (not the thumb) slightly, as you thereby increase the hold on the chosen card.

Second Method.—Get the card to the top of the pack, and hold the pack lightly between the thumb and fingers of the right hand, the thumb being on the face, and the fingers (which should be previously slightly moistened) on the back of the cards. (See Fig. 29.) Give a sharp downward jerk of the hand and arm, when, as in the last case, all the cards will fall save the top card, which is retained by the greater friction of the moistened fingers.

Third Method.—Get the chosen card to the top, and hold the pack in the right hand, lengthways and face downwards, about two feet above the floor or table. Push the top card a little off the pack sideways, so as to make it project throughout its whole length about an inch beyond the rest of the cards. Now let fall the pack, when the resistance of the air will cause the top card to turn over in its fall, and to appear face upwards, all the other cards remaining face downwards.

Fourth Method.—Place the card in question and seven other indifferent cards in two rows, face downwards, on the table. Keep in your own mind which is the chosen card, but do not let the audience see the face of either of the cards. Ask the drawer if he is sure that he will know his card again. He will, of course, answer “yes.” Now ask either the same or another person to touch four of the eight cards upon the table. Necessarily, the four which he touches will either include or not include the chosen card. In either case you take up (whether he touches them or not) the four which do not include the chosen card, remarking, “I will return these to the pack.” Invite the same person to touch two out of the four which remain. Again take up the two (whether touched or not touched) which do not include the chosen card, saying, “I return these also to the pack.”46 You have now only two cards left on the table, one of which is the chosen card. Invite one of the spectators to touch one of these cards. As before, whichever he touches, you pick up and return to the pack the non-chosen card, remarking, “We have now only one card left. You have all seen that I dealt out eight cards on the table, and that I have withdrawn seven, you yourselves choosing which I should withdraw. Now, sir, be kind enough to name the card you drew.” The card having been named, you turn over the card left on the table, and show that it is the right one.

This trick is based upon a kind of double entendre, which, though apparently obvious, is rarely seen through by the audience if performed in a quick and lively manner. The secret lies in the performer interpreting the touching of the cards in two different senses, as may best suit his purpose. If the chosen card is not among the cards touched, he interprets the touching as meaning that the cards touched are rejected, and to be returned to the pack. If the card is among those touched, he interprets the touching in the opposite sense,—namely, that the cards touched are to be retained, and the others rejected. If he is lucky in the cards touched, it may happen that he is able to interpret the touching in the same sense throughout the trick, in which case there will be no clue whatever to the secret; but even in the opposite case, where he is compelled to put aside first the cards touched and then the cards not touched, the difference generally passes unnoticed by the spectators, or, if noticed, is put down as a slip on the part of the performer, rather than as being, as it really is, the key to the trick.

Where the performer is proficient in sleight-of-hand, the above may be worked up into a really brilliant trick. Any indifferent card being drawn and returned, is brought to the top by the pass, palmed, and the pack shuffled. Eight cards are laid out, and the drawn card revealed as above.

Having described these few commencements and terminations, we will next proceed to the discussion of some complete tricks.

To make a Card vanish from the Pack, and be found in a Person’s Pocket.—Slightly moisten the back of your left hand. Offer the pack to be shuffled. Place it face downwards on47 the table, and request one of the company to look at the top card. Request him to place the back of his left hand upon the cards, and press heavily upon it with his right. In order that he may the better comprehend your meaning, place your own hands as described (see Fig. 30), and request him to imitate you. When you remove your left hand, the back being moistened, the card will stick to it. Put your hands carelessly behind you, and with the right hand remove the card. All will crowd round to see the trick. Pretend to be very particular that the person who places his hand on the card shall do so in precisely the right position. This will not only give you time, but draw all eyes to his hands. Meanwhile, watch your opportunity and slip the card into the tail pocket of one or other of the spectators. Now announce that you are about to order the top card, which all have seen, and which Mr. A. is holding down so exceedingly tight, to fly away from the pack and into the pocket of Mr. B., making the choice apparently hap-hazard. On examination your commands will be found to have been fulfilled. It has a good effect, when practicable, to slip the card into the pocket of the same person who is pressing upon the pack.

To place the Four Kings in different parts of the Pack, and to bring them together by a Simple Cut.—Take the four kings (or any other four cards at pleasure), and exhibit them fanwise (see Fig. 31), but secretly place behind the second one (the king of diamonds in the figure) two other court cards of any description, which, being thus hidden behind the king, will not be visible. The audience being satisfied that the four cards are really48 the four kings, and none other, fold them together, and place them at the top of the pack. Draw attention to the fact that you are about to distribute these four kings in different parts of the pack. Take up the top card, which, being really a king, you may exhibit without apparent intention, and place it at the bottom. Take the next card, which the spectators suppose to be also a king, and place it about half way down the pack, and the next, in like manner, a little higher. Take the fourth card, which, being actually a king, you may show carelessly, and replace it on the top of the pack. You have now really three kings at the top and one at the bottom, though the audience imagine that they have seen them distributed in different parts of the pack, and are proportionately surprised, when the cards are cut, to find that all the kings are again together.

It is best to use knaves or queens for the two extra cards, as being less distinguishable from the kings, should a spectator catch a chance glimpse of their faces.

There are other and better modes of bringing together four apparently separated cards by the aid of sleight-of-hand, which will be explained in due course; but we have thought it well to give also this simpler method, as it is always an advantage to possess two different modes of performing the same feat.

The Four Kings being placed under the Hand of one Person, and the Four Sevens under the Hand of Another, to make them Change Places at Command.—Exhibit, fanwise, in one hand the four kings, and in the other the four eights. Behind the hindmost of the kings, and so as not to be noticeable by the49 audience, secretly place beforehand the four sevens. Hold the four eights in the other hand in such manner that the lower of the two centre pips of the foremost is concealed by the first and second fingers. The same pip on each of the other cards will be concealed by the card immediately before it, so that the four cards will to the spectators appear equally like the sevens. Place the pack face downwards on the table. Draw attention to the fact that you hold in one hand the four kings, and in the other the four sevens (really the disguised eights). Fold up the supposed sevens, and place them on the pack. Fold up the kings, and place them on the top of the supposed sevens. As the real sevens were behind the last of the kings, they are now on the top, with the kings next, though the audience are persuaded that the kings are uppermost, and the sevens next following. Deal off, slowly and carefully, the four top cards, saying, “I take off these four kings,” and lay them on the table, requesting one of the spectators to place his hand firmly upon them. Do the same with the next four cards (which are really the kings). Ask if the persons in charge of the cards are quite sure that they are still under their hands, and, upon receiving their assurance to that effect, command the cards they hold to change places, which they will be found to have done.

Four Packets of Cards having been Formed face downwards on the Table, to discover the Total Value of the Undermost Cards.—This trick must be performed with the piquet pack of thirty-two cards. Invite one of the spectators to privately select any four cards, and to place them, separately and face downwards, on the table; then, counting an ace as eleven, a court card as ten, and any other card according to the number of its pips, to place upon each of these four so many cards as, added to its value thus estimated, shall make fifteen. (It must be remembered that value is only to be taken into consideration as to the original four cards, those placed on them counting as one each, whatever they may happen to be.) You meanwhile retire. When the four heaps are complete, advance to the table, and observe how many cards are left over and above the four heaps. To this number mentally add thirty-two. The total will give you the aggregate value of the four lowest cards, calculated as above mentioned.

50 You should not let your audience perceive that you count the remaining cards, or they will readily conjecture that the trick depends on some arithmetical principle. You may say, “You will observe that I do not look even at one single card:” and, so saying, throw down the surplus cards with apparent carelessness upon the table, when they are sure to fall sufficiently scattered to enable you to count them without attracting observation.

To Name all the Cards in the Pack in Succession.—This is an old trick, but a very good one. To perform it, you must arrange the cards of a whist pack beforehand, according to a given formula, which forms a sort of memoria technica. There are several used, but all are similar in effect. The following is one of the simplest:—

These words suggest, as you will readily see, eight, king, three, ten, two, seven, nine, five, queen, four, ace, six, knave. You must also have a determinate order for the suits, which should be red and black alternately, say, diamonds, clubs, hearts, spades. Sort the pack for convenience into the four suits, and then arrange the cards as follows: Take in your left hand, face upwards, the eight of diamonds, on this place the king of clubs, on this the three of hearts, then the ten of spades, then the two of diamonds, and so on, till the whole of the cards are exhausted. This arrangement must be made privately beforehand, and you must either make this the first of your series of tricks, or (which is better, as it negatives the idea of arrangement) have two packs of the same pattern, and secretly exchange the prepared pack, at a suitable opportunity, for that with which you have already been performing. Spread the cards (which may previously be cut any number of times), and offer them to a person to draw one. While he is looking at the card, glance quickly at the card next above that which he has drawn, which we will suppose is the five of diamonds. You will remember that in your memoria technica “five” is followed by “ladies” (queen). You know then that the next card, the one drawn, was a queen. You know also that clubs follow diamonds: ergo, the card drawn is the queen of clubs. Name it, and51 request the drawer to replace it. Ask some one again to cut the cards, and repeat the trick in the same form with another person, but this time pass all the cards which were above the card drawn, below the remainder of the pack. This is equivalent to cutting the pack at that particular card. After naming the card drawn, ask if the company would like to know any more. Name the cards next following the card already drawn, taking them one by one from the pack and laying them face upwards on the table, to show that you have named them correctly. After a little practice, it will cost you but a very slight effort of memory to name in succession all the cards in the pack.

The Cards being Cut, to tell whether the Number Cut is Odd or Even.—This is another trick performed by the aid of the prepared pack last described, and has the advantage of being little known, even to those who are acquainted with other uses of the arranged pack. Notice whether the bottom card for the time being is red or black. Place the pack on the table, and invite any person to cut, announcing that you will tell by the weight of the cards cut whether the number is odd or even. Take the cut cards (i.e., the cards which before the cut were at the top of the pack), and poising them carefully in your hand, as though testing their weight, glance slily at the bottom card. If it is of the same colour as the bottom card of the other or lowest portion, the cards cut are an even number; if of a different colour, they are odd.

The Whist Trick.—To deal yourself all the Trumps.—The cards being arranged as above mentioned, you may challenge any of the company to play a hand at whist with you. The cards are cut in the ordinary way (not shuffled). You yourself deal, when, of course, the turn-up card falls to you. On taking up the cards, it will be found that each person has all the cards of one suit, but your own suit being that of the turn-up card, is, of course, trumps; and having the whole thirteen, you must necessarily win every trick.

The weak point of the feat is, that the cards being regularly sorted into the four suits, the audience can hardly help suspecting that the pack was pre-arranged beforehand. There is another and better mode of performing the trick, by which you still hold all the52 trumps, but the three remaining players have the ordinary mixed hands. This method, however, involves sleight-of-hand, and would therefore be out of place in the present chapter.

To allow a Person to think of a Card, and to make that Card appear at such Number in the Pack as Another Person shall Name.—Allow the pack to be shuffled and cut as freely as the company please. When they are fully satisfied that the cards are well mixed, offer the pack to any of the spectators, and request him to look over the cards, and think of any one, and to remember the number at which it stands in the pack, reckoning from the bottom card upwards. You then remark, “Ladies and gentlemen, you will take particular notice that I have not asked a single question, and yet I already know the card; and if anyone will kindly indicate the place in the pack at which you desire it to appear, I will at once cause it to take that position. I must only ask that, by arrangement between yourselves, you will make the number at which the card is to appear higher than that which it originally held.” We will suppose that the audience decide that the card shall appear at number 22. Carelessly remark, “It is not even necessary for me to see the cards.” So saying, hold the pack under the table, and rapidly count off twenty-two cards from the bottom of the pack, and place them on the top.C You then continue, “Having already placed the card thought of in the desired position, I may now, without suspicion, ask for the original number of the card, as I shall commence my counting with that number.” We will suppose you are told the card was originally number 10. You begin to count from the top of the pack, calling the first card 10, the next 11, and so on. When you come to 22, the number appointed, you say, “If I have kept my promise, this should be the card you thought of. To avoid the suspicion53 of confederacy, will you please say, before I turn it over, what your card was.” The card being named, you turn it up, and show that it is the right one.

In all tricks which depend on the naming of a card drawn or thought of, it adds greatly to the effect to have the card named before you turn it up.

This trick, unlike most, will bear repetition; but it is well on a second performance to vary it a little. Thus you may on the second occasion say, when the card has been thought of, “I will choose for myself this time; your card will appear at number 30.” It is desirable to name a number very near the total number of the pack (which we are now supposing to be a piquet pack), as the difference between that and the total number being very small, it is easy to see at a glance the number of cards representing such difference, and pass them to the bottom of the pack. You take in this instance two cards only, that being the difference between 30 and 32, and pass them to the bottom, when the card will, as you have announced, be the thirtieth.

If you are able to make the pass, you will, of course, avail yourself of it to transfer the requisite number of cards to the top or bottom of the pack.

The Cards Revealed by the Looking-Glass.—This is rather a joke than a feat of magic, but it will create some fun, and may often be kept up for some time without being discovered. Take up your position on one side of the room, facing a good-sized mirror or chimney-glass. Make your audience stand or sit facing you, when they will, of course, have their backs to the glass. Offer the cards to be shuffled and cut. Take the top card and hold it high up, with its back to you and its face to the audience. As it will be reflected in the mirror opposite you, you will have no difficulty in naming it, or any other card in like manner, till your audience either find you out, or have had enough of the trick.

To Guess Four Cards thought of by Different Persons.—Offer the pack to be shuffled. Place it on the table, and taking off the four top cards with the right hand, offer them to any person, and ask him to notice one of them, shuffle them, and return them to you. When they are returned, place them, face downwards, in your left54 hand. Take the next four cards, and offer them to another person in like manner. Proceed in like manner with a third and fourth group of four. When all the sixteen cards are returned, deal them out in four heaps, face upwards. Ask each person in which heap his card now is. That of the first person will be the uppermost of his heap, that of the second person second in his heap, and so on. It will sometimes occur that two of the cards chosen are in the same heap, but the rule will still apply. Should there be three persons only to choose, you should give them three cards each; and deal in three heaps.

The Pairs Re-paired.—After performing the last trick, you may continue, “As you have not yet found me out, I will repeat the experiment, but in a slightly altered form. This time I will invite you to think of two cards each, and all present may join if they please.” After giving the pack to be shuffled, you deal out twenty cards, face upwards, but placing them in couples. Invite as many of the company as please to note any particular couple they think fit, and to remember those two cards. When they have done so, gather up the cards, picking them up here and there in any order you please, taking care, however, that none of the pairs are separated. You now deal them out again, face upwards, in rows of five, according to the following formula: Mutus dedit nomen Cocis, which, being interpreted, signifies, “Mutus gave a name to the Coci,” a people as yet undiscovered. On examining the sentence closely, you will observe that it consists of ten letters only, m, u, t, s, d, e, i, n, o, c, each twice repeated. This gives you the clue to the arrangement of the cards, which will be as follows:

55 You must imagine the four words printed as above upon your table. You must deal your first card upon the imaginary M in MUTUS, and the second on the imaginary M in NOMEN, the two next cards on the two imaginary U’s, the two next on the two T’s, and so on. You have now only to ask each person in which row his two cards now appear, and you will at once know which they are. Thus, if a person says his two cards are now in the second and fourth rows, you will know that they must be the two cards representing the two I’s, that being the only letter common to those two rows. If a person indicates the first and fourth rows, you will know that his cards are those representing the two S’s, and so on.

The Magic Triplets.—This trick is precisely similar in principle to the last, but twenty-four (instead of twenty) cards are used, and they are dealt in triplets, instead of pairs. After the spectators have made their selection, you take up the cards as directed for the last trick, taking care to keep the respective triplets together. You then deal them in rows of six, the formula in this case being:

Another Mode of Discovering a Card Thought of.—Have the pack well shuffled. Then deal twenty-five cards, in five rows of five cards each, face upwards. Invite a person to think of a card, and to tell you in which row it is. Note in your own mind the first or left-hand card of that row. Now pick up the cards in vertical rows, i.e., beginning at the last card of the last row, placing that card face upwards on the last of the next row, those two on the last of the next row, and so on. When you have picked up all the cards in this manner, deal them out again in the same way as at first. You will observe that those cards which at first formed the first cards of each row, now themselves form the first row. Ask the person in which row his card now is. When he has told you, look to the top row for the first card of the original row, when the card thought of will be found in a direct line below it. As you have just been told in which56 lateral row it is, you will not have the least difficulty in discovering it, and by a slight effort of memory you may even allow several persons each to think of a card, and name it. A comparison of the subjoined tables, showing the original and subsequent order of the cards, will explain the principle of the trick.

First Order.

Second Order.

Thus we will suppose you are told that the card thought of is originally in the third line. Remember the first or key-card of that line, designated in the table as 11. If the card is in the fourth line after the second deal, you look to the top line for the key-card, and on finding it you have only to observe which card in the fourth row is immediately beneath it, to be sure that that card (in this instance designated by the number 14) is the card thought of.

You may perform the trick with either sixteen, twenty-five, thirty-six, or forty-nine cards, either of those being a square number, and thus making the number of cards in a row equal to the number of rows, which is essential to the success of the trick.

To Guess, by the aid of a Passage of Poetry or Prose, such one of Sixteen Cards as, in the Performer’s Absence, has been Touched or Selected by the Company.—This feat is performed by confederacy, the assistance of the confederate being open and avowed, but the mode in which the clue is given constituting57 the mystery. You allow the pack to be shuffled, and then deal sixteen cards, the first that come to hand, either face upwards or face downwards, in four rows on the table. The sole preparation on the part of yourself and your confederate is to commit to memory the following simple formula—animal, vegetable, mineral, verb, signifying respectively one, two, three and four. You retire from the room while the card is chosen, your confederate remaining. Upon your return your confederate selects and hands for your perusal a passage in any book which the audience may select, only taking care that the first word in such passage which comes within either of the four categories above mentioned, shall be such as to represent the number of the row in which the card is, and that the second word which comes within either of those categories shall represent the number at which the card stands in that row. We will suppose, for instance, that the passage handed to the performer is that portion of Hamlet’s soliloquy commencing, “Oh, that this too too solid flesh would melt.” Here the first word which comes within either of the four categories is “flesh,” which, being clearly animal (1), indicates that the chosen card is in the first row. The second word coming within either of the categories is “melt,” which, being a verb (4), indicates that the chosen card is the fourth of its row. Had the passage been “To be, or not to be, that is the question,” the two verbs would have indicated that the card was the fourth of the fourth row. “How doth the little busy bee,” etc., would have indicated the first of the fourth row, and so on. With a little tact and ingenuity on the part of the operators, this may be made an admirable trick, and, unlike most others, will bear being repeated, the mystery becoming deeper as passages of varying character and different length are employed.

To Detect, without Confederacy, which of Four Cards has been Turned Round in your Absence.—It will be found upon examining a pack of cards, that the white margin round the court cards almost invariably differs in width at the opposite ends. The difference is frequently very trifling, but is still sufficiently noticeable when pointed out, and may be made available for a trick which, though absurdly simple, has puzzled many. You place four court cards of the same rank, say four queens, in a row, face upwards,58 taking care that the wider margins of the cards are all one way. You then leave the room, and invite the company to turn round lengthways during your absence any one or more of the four cards. On your return you can readily distinguish which card has been so turned, as the wider margin of such card will now be where the narrower margin was originally, and vice versâ.

There is so little chance of the trick being discovered, that you may, contrary to the general rule, repeat it if desired. Should you do so, it is better not to replace the cards already turned, as this might give a clue to the secret, but carefully note in your own mind their present position, by remembering which you can discover any card turned just as easily as at first.

To Arrange Twelve Cards in Rows, in such a manner that they will Count Four in every Direction.—This is rather a puzzle than a conjuring trick, but may sometimes serve as an interlude to occupy the minds of your audience while you are preparing for some other feat. The secret is to place nine of the twelve cards in three rows, so as to form a square; then place the remaining three cards as follows: the first on the first card of the first row, the second on the second card of the second row, and the last on the third card of the last row.

To Place the Aces and Court Cards in Four Rows, in such a manner that neither Horizontally nor Perpendicularly shall there be in either Row two Cards alike either in Suit or Value.—This also is a puzzle, and a very good one. The key to it is to begin by placing four cards of like value (say four kings) in a diagonal line from corner to corner of the intended square, then four other cards of like value (say the four aces) to form the opposite diagonal. It must be borne in mind, that of whatever suit the two centre kings are, the two aces must be of the opposite suits. Thus, if the two centre kings are those of diamonds and hearts, the two centre aces must be those of clubs and spades; and in adding the two end aces, you must be careful not to place at either end of the line an ace of the same suit as the king at the corresponding end of the opposite diagonal. Having got so far, you will59 find it a very easy matter to fill in the remaining cards in accordance with the conditions of the puzzle. The sixteen cards when complete will be as in Fig. 32, subject, of course, to variation according to the particular cards with which you commence your task.

The Congress of Court Cards.—Take the kings, queens, and knaves from the pack, and place them face upwards on the table in three rows of four each, avoiding as much as possible the appearance of arrangement, but really taking care to place them in the following order: In the first row you have only to remember not to have two of the same suit. Begin the second row with a card of the same suit with which you ended the first, let the second card be of the same suit as the first of the first row, the third of the same suit as the second of the first row, and so on. The third row will begin with the suit with which the second left off, the second card will be of the same suit as the first of the second row, and so on. Now pick up the cards in vertical rows, beginning with the last card of the bottom row. The cards may now be cut (not shuffled) any number of times, but, if dealt in four heaps, the king, queen, and knave of each suit will come together.

60

We have already explained the nature and use of the “forcing” pack of cards. It may be well, before we go further, to give a short account of one or two other species of prepared cards.

The Long Card.—This is the technical name for a card longer or wider, by about the thickness of a sixpence, than the rest of the pack. This card will naturally project to that extent beyond the general length or width of the other cards, and the performer is thereby enabled to cut the pack at that particular card whenever he chooses to do so. With the aid of such a card, and a tolerable proficiency in “forcing” and “making the pass,” many excellent tricks can be performed. Packs with a long card can be obtained at any of the conjuring depôts. The best plan, however, is to purchase two ordinary packs, precisely alike, and to have the edges of one of them shaved down by a bookbinder to the requisite extent, when you can insert any card of the other pack at pleasure to form your long card, and thus avoid the suspicion which would naturally arise from the performance of several tricks with the same card. A still greater improvement upon the ordinary long-card pack is the biseauté or tapering pack, in which, though only one pack is used, any card may in turn become the long card. A biseauté pack consists of cards all of which are a shade wider (say the thickness of a shilling) at one end than the other. (See Fig. 33, in which, however, the actual difference of width is exaggerated, in order to make the shape of the card clear to the eye.)

When two cards shaped as above are placed one upon another, but in opposite directions, the effect is as in Fig. 34. If the whole pack is at the outset placed with all the cards alike (i.e., their ends tapering in61 the same direction), by reversing any card and returning it to the pack, its wide end is made to correspond with the narrow ends of the remaining cards, thereby making it for the time being a “long” card. By offering the pack for a person to draw a card, and turning the pack round before the card is replaced, the position of that card will thus be reversed, and you will be able to find it again in an instant, however thoroughly the cards may be shuffled. By pre-arranging the pack beforehand, with the narrow ends of all the red cards in one direction, and those of the black cards in the other direction, you may, by grasping the pack between the finger and thumb at each end (see Fig. 35), and, drawing the hands apart, separate the black cards from the red at a single stroke, or, by preparing the pack accordingly, you may divide the court cards from the plain cards in like manner. Many other recreations may be performed with a pack of this kind, which will be noticed in due course. The long card and the biseauté pack have each their special advantages and disadvantages. The long card is the more reliable, as it can always be distinguished with certainty from the rest of the pack; but it is very generally known, and after having made use of it for one trick, it is clear that you cannot immediately venture upon another with the same card. It is further comparatively useless unless you are proficient in “forcing.” The biseauté pack may be used without any knowledge of “forcing,” and has the advantage that any card may in turn become the key card, but it is treacherous.62 The necessary turning of the pack is likely to attract observation, and any little mistake, such as allowing the card to be replaced in its original direction, or a few of the cards getting turned round in shuffling, will cause a breakdown. Notwithstanding these disadvantages, both the long card and the biseauté pack will be found very useful to the amateur; but it should be borne in mind that both these appliances are in reality only makeshifts or substitutes for sleight-of-hand. Professionals of the highest class discard them altogether, and rely wholly on the more subtle magic of their own fingers.

We subjoin a few of the best of the feats which specially depend upon the use of a long card or the biseauté pack.

A Card having been Chosen and Returned, and the Pack shuffled, to Produce the Chosen Card instantly in various ways.—Request some person to draw a card, spreading them before him for that purpose. If you use a long-card pack you must force the long card; if you are using a biseauté pack any card may be drawn, the pack being reversed before the card is replaced. The card being returned, the pack may be shuffled to any extent, but you will always be able to cut by feel at the card chosen.

You may vary the trick by taking the cards upright between the second finger and thumb of the right hand, and requesting some one to say, “One, two, three!” at the word “three” drop all the cards save the card chosen, which its projecting edge will enable you to retain when you relax the pressure upon the other cards.

Another mode of finishing the trick is to request any one present to put the pack (previously well shuffled) in his pocket, when you proceed, with his permission, to pick his pocket of the chosen card. This is an effective trick, and, if you are proficient in sleight-of-hand, may be also performed with an unprepared pack of cards. In the latter case, when the chosen card is returned to the pack, you make the pass to bring it to the top, palm it, and immediately offer the cards to be shuffled. (See Fig. 15.) The pack being returned, you replace the chosen card on the top, and when the pack is placed in the pocket you have only to draw out the top card. The feat of cutting at the chosen card may also by similar means be performed with an ordinary pack. For this purpose you must follow the directions63 last above given up to the time when, the pack having been shuffled, you replace the palmed card on the top. Then transfer the pack to the left hand, and apparently cut with the right. We say apparently, for though to the eye of the spectator you merely cut the cards, you really make the pass by sliding the lower half of the pack to the left, the fingers of the left hand at the same moment opening a little to lift the upper packet, and so give room for the upward passage of the lower packet. The cards remaining after the pass in the left hand, which the spectators take to be the bottom half of the pack, are in reality the original upper half; and on the uppermost of such cards being turned up, it is found to be the one which was chosen.

Another good mode of finishing the trick is to fling the pack in the air, and catch the chosen card. For this purpose, after forcing the long card, and after giving the pack to be shuffled, you cut the pack at the long card as before, but without showing it, and place the original lower half of the pack on the top. The chosen card will now be at the bottom. Take the pack face downwards upon the right hand, and quickly transfer it to the left, at the same time palming (with the right hand) the bottom card. Spread the cards a little, and fling them into the air, clutching at them with the right hand as they descend, and at the same moment bring the chosen card to the tips of the fingers. The effect to the spectators will be as if you actually caught it among the falling cards.

This feat also may be performed without the aid of a long card, and without the necessity of forcing a card. In this case, as in the pocket-picking trick, you make the pass as soon as the card is returned to the pack, in order to bring it to the top, and palm it; then offer the pack to be shuffled. When the cards are handed back, place the chosen card for a moment on the top of the pack, and endeavour to call attention—indirectly, if possible—to the fact that you have no card concealed in your hand. Then again palming the card, you may either yourself fling up the cards or request some other person to do so, and terminate the trick as before.

A still more effective form of this trick, in which the chosen card is caught upon the point of a sword, will be found among the card tricks performed by the aid of special apparatus.

The following is a good long-card trick, but demands considerable64 proficiency in sleight-of-hand. You “force” the long card, allowing it to be returned to any part of the pack, and the whole to be well shuffled. You then say, “You must be by this time pretty certain that, even if I knew your card in the first instance, I must have quite lost sight of it now. If you do not feel quite certain, please shuffle the cards once more.” Every one being fully satisfied that the card is completely lost in the pack, you continue, “Let me assure you that I do not know, any more than yourselves, whereabouts in the pack your card is at this moment. You can all see that I have no duplicate card concealed in my hands. I will now take the top card, whatever it may be, or, if you prefer it, any one may draw a card from any part of the pack, and I will at once change it to the card originally chosen.” The audience will probably prefer to draw a card, which, when they have done, you continue, “I presume the card you have just drawn is not the one originally chosen. Will the gentleman who drew the first card look at it and see if it is his card?” The reply is pretty certain to be in the negative. During the discussion you have taken the opportunity to slip the little finger of the left hand immediately above the long card (which, it will be remembered, was that first drawn), and to make the pass, thereby bringing it to the top, and enabling you to palm it. You now ask the person holding the second card to place it on the top of the pack, which you immediately transfer to the right hand, thus bringing the palmed card upon it. You then say, “To show you that this trick is not performed by sleight-of-hand, or by any manipulation of the cards, I will not even touch them, but will place them here on the table in sight of all. Will the gentleman who drew the first card please to say what his card was?” The card being named, you slowly and deliberately turn over the top card, which will be found to be transformed into that first chosen. The other card is now the next card on the top of the pack, and, as somebody may suspect this, and by examining the pack gain a partial clue to the trick, it will be well to take an early opportunity of removing this card, either by shuffling, or by making the pass to bring it to the centre of the pack.

If you make use of a biseauté pack, there is, of course, no necessity for forcing the card in the first instance.

You may also reveal a chosen card with very good effect in the65 following manner: A card having been freely drawn, open the pack in such manner that it may be placed, when returned, immediately under the long card, which, by the way, should in this instance really be a wide card, though the term “long card” applies, as already mentioned, to both kinds of card. The pack may be moderately shuffled, with very little risk of the two cards being separated, the greater width of the long card tending to shelter the card beneath it, and making it very unlikely that that card will be displaced. If after the shuffle the long card does not happen to be tolerably high up in the pack, you should cut the cards in such manner as to make it so. Holding the cards in a horizontal position, face downwards, above the table, the thumb being on one side and the fingers on the other side of the pack, you say, “Ladies and gentlemen, I am now about to drop the cards, a few at a time, in a number of little heaps upon the table, stopping when you tell me to do so. It will be equally open to you to stop me when I have made one or two heaps only, or not until I have made seven or eight, but, whenever it is, the card at the top of the heap last made will be the identical card which was just now drawn, and which has since, as you have seen, been thoroughly shuffled in the pack.” You now drop the cards, four or five at a time, on various parts of the table. When the word “stop” is pronounced you let go all the remaining cards below the long card, which, from its greater width, a very slight pressure suffices to retain. The card chosen having been next below the long card, is now at the top of the last heap. You ask the person who drew to name his card, and, touching the back of the top card with your wand, turn it over to show that it is the right one.

If you are tolerably expert in sleight-of-hand you may repeat the trick in a yet more striking manner. Proceed as before up to the moment when the word “stop” is pronounced. Having let fall as before all the cards below the long card, lay down the remainder of the pack, and take in the left hand the heap which you last dealt. Cover it with the right hand for an instant, and, sliding away the hand gently to the right, palm the top card, and immediately take by one corner the next card, holding it face downwards until the drawer has named his card, which was, we will suppose, the queen of hearts. As soon as the card is named, you turn towards the audience the face66 of the card you hold, saying, “Here is the card, as before.” Do not look at it yourself, but at once replace it on the pack, and, covering the pack with the right hand, leave the palmed card upon it. You are by this time made aware by a murmur, if not by a more decided manifestation on the part of the audience, that something is wrong. You ask what is the matter, and are told that, so far from showing the queen of hearts, the card you produced was a totally different one, say, the seven of spades. You pretend to look embarrassed, and ask if they are quite sure. “It is very strange,” you remark, “I never failed in this trick before. Will you allow me to try again?” Then, appearing to recollect yourself, “Oh, of course!” you exclaim, “I forgot to touch the card with the magic wand.” You do so. “Will some one be kind enough to look at the card now?” The card is examined, and proves to be, as it ought to have been originally, the queen of hearts.

To teach the Company a Trick which they Learn without Difficulty; then to allow them to Succeed or to cause them to Fail at your Pleasure.—This surprising trick is performed with the piquet pack of thirty-two cards, from which you must beforehand take away, and secretly pocket, one card of each suit, the spectators, however, believing that you use the whole thirty-two cards.

You announce to the company that you will teach them a trick. You deal the cards face upwards in rows of four, according to the rules set forth in the trick already described under the title of “The Congress of Court Cards,” i.e., you place a card of each suit in the top row; you commence each row with a card of the suit with which the row above ended; you make the second of each row the same suit as the first of the row above, and the third the same suit as the second of the row above, and so on. Thus, if your top row be club, diamond, heart, spade, your second will be spade, club, diamond, heart; your third, heart, spade, club, diamond; your fourth, diamond, heart, spade, club; your fifth, club, diamond, heart, spade; your sixth, spade, club, diamond, heart; and your seventh, heart, spade, club, diamond. You now gather up the cards as directed in the trick already mentioned, i.e., in vertical rows, from the bottom upwards, commencing at the right-hand bottom corner. The pack thus67 arranged may be cut any number of times, but, if dealt in four heaps, all the cards of each suit will be found to be together.

So far, the trick is ingenious rather than astonishing, although, the arrangement of the cards having reference only to the suits, and not to individual cards, the cards do not at first sight appear to be specially arranged; and if you are rapid and apparently careless in placing them, the spectators will in all probability believe that they are placed hap-hazard. If you can induce this belief, you will greatly heighten their surprise at finding the different suits regularly sorted after the deal. But the trick is not yet finished. You again place the cards as before, remarking that the trick is simplicity itself when once the principle is known, and on this occasion you draw special attention to the necessary arrangement of the cards. Having completed the trick for the second time, you invite some of the audience to try their hands, which they do, and of course succeed, there being really no difficulty in the matter. When one or two have tried and succeeded, they will probably disparage the trick, as being absurdly easy. “Pardon me,” you say, “you have succeeded so far, because it was my will and pleasure that you should do so. You seem incredulous, but I am perfectly serious. To prove that I am so, I give you warning that the next person who attempts the trick will fail. Come, who accepts the challenge?” Some one is sure to respond, and in all probability to offer you a bet that he will succeed. “Sir,” you reply, “I never bet on certainties, or your money would be already lost. I have said that you shall fail, and you cannot, therefore, possibly succeed.” You have, meanwhile, secretly palmed the four cards which you pocketed before beginning the trick, and have watched your opportunity to replace them on the table with the rest of the pack.

Your opponent may now try as much as he pleases, but he cannot possibly succeed, the fact being that the process above described produces the desired effect with twenty-eight cards, but will not do so with thirty-two. The first thought of your audience is sure to be that you have abstracted some of the cards in order to make the trick fail, but on counting they find the number correct. Not one in a hundred will suspect that the reverse is the case, and that when you performed the trick the pack was incomplete.

68 By the time three or four of the company have tried and failed, you will probably have found an opportunity of again pocketing a card of each suit; and you may then announce that, having sufficiently proved your power, you will now graciously condescend to remove the prohibition, and allow the next person who tries to succeed. This, of course, he will do; and the trick may very well end here, with the satisfaction on your part that you have kept your secret, and that, even when removed from the sphere of your adverse influence, your pupils will fail in performing the trick, making the attempt, as they naturally will, with the full piquet pack. But it is just possible that a contretemps may arise, for which it will be well to be prepared. Some one of the audience, more acute than the generality, may suggest again counting the cards, to see if all are there when the trick succeeds. Even in this case you need not be discomfitted. At once offer yourself to count the cards, and, gathering them up for that purpose, add to them the four which you removed, which you should again have palmed in readiness. Count them deliberately on to the table, and, when every one is satisfied that the pack is complete, announce that you will once more perform the trick, in order to let every one see that you actually use no more and no less than thirty-two cards. Place the cards as before, counting aloud as you do so, till the whole thirty-two cards are placed. So far you have not varied your method of proceeding, but to succeed with the whole thirty-two cards you must secretly make a slight variation in the manner of picking up. You will remember that the cards were picked up face upwards, beginning from the bottom of the right hand row, placing the cards of that row on those of the next row, and so on. Now, to perform the trick with thirty-two cards, the bottom cards of each row must be gathered up all together, and placed on the face of the pack. Thus, if the bottom card of the first or left hand row be the knave of spades, that of the second row the ten of diamonds, that of the third row the ace of hearts, and that of the fourth row the seven of clubs, those four cards must be picked up as follows: The knave of spades must be placed (face upwards) on the ten of diamonds, the ten of diamonds on the ace of hearts, and the ace of hearts on the seven of clubs, which will occupy its own place on the face of the cards of the last or right-hand row. For convenience of picking up, it will be69 well to place the four rows very near together, slightly converging at the bottom, when it will be tolerably easy, by a bold, quick sweep of the left hand from left to right, to slide the three other cards in due order, on to the bottom card of the last row; while the performer, looking not at the cards but at his audience, diverts their attention by any observations which may occur to him. The trick in this form requires considerable address, and the performer should not, therefore, venture upon it until, by frequent practice, he can be certain of placing the four cards neatly with his left hand, and without looking at his hands, which would infallibly draw the eyes of the audience in the same direction, and thereby spoil the trick.

To Distinguish the Court Cards by Touch.—This trick is performed by means of a preliminary preparation of the court cards, to be made as follows: Take each court card separately, edge upwards, and draw a tolerably sharp knife, the blade held sloping backwards at an angle of about 45°, once or twice along the edge from left to right. This will be found to turn the edge of the card, so to speak, and to leave on each side a minute ridge, not noticeable by the eye, but immediately perceptible, if sought for, to the touch. Prepare the opposite edge of the card in the same way, and again mix the court cards with the pack, which is now ready for use.

Offer the prepared pack to be shuffled. When the pack is returned to you, you may either hold it above your head, and, showing the cards in succession, call “court card” or “plain card,” as the case may be, or you may offer to deal the cards into two heaps, consisting of court cards in one heap and plain cards in the other, every now and then offering the cards to be again shuffled. You can, of course, perform the trick blindfold with equal facility.

You should endeavour to conceal, as much as possible, the fact that you distinguish the court cards by the sense of touch, and rather seek to make your audience believe that the trick is performed by means of some mathematical principle, or by any other means remote from the true explanation. This advice, indeed, applies more or less to all tricks. Thus your knowledge of a forced card depends, of course, on sleight-of-hand; but you should by no means let this be suspected, but rather claim credit for some clairvoyant faculty; and70 vice versâ, when you perform a trick depending on a mathematical combination, endeavour to lead your audience to believe that it is performed by means of some impossible piece of sleight-of-hand. Further, endeavour to vary your modus operandi. If you have just performed a trick depending purely on sleight-of-hand, do not let the next be of the same character, but rather one based on a mathematical principle, or on the use of special apparatus.

To name any Number of Cards in succession without Seeing Them.—First Method.—This trick, in its original form, is so well known that it is really not worth performing; but we describe it for the sake of completeness, and for the better comprehension of the improved method. The performer takes the pack, and secretly notices the bottom card. He then announces that he will name all the cards of the pack in succession without seeing them. Holding the pack behind him for an instant, he turns the top card face outwards on the top of the pack; then holding the pack with the bottom card towards the audience, he names that card. From the position in which he holds the pack, the top card, which he has turned, is towards him, and in full view. Again placing his hands behind him, he transfers the last named to the bottom, and turns the next, and so on in like manner. Even in an audience of half-a-dozen only, it is very likely that there will be some one acquainted with this form of the trick, who will proclaim aloud his knowledge of “how it is done.” We will suppose that you have performed the trick with this result. Passing your hands again behind you, but this time merely passing the top card to the bottom, without turning any other card, you reply that you doubt his pretended knowledge, and name the card as before. He will naturally justify his assertion by explaining the mode of performing the trick. You reply, “According to your theory, there should be an exposed card at each end of the pack. Pray observe that there is nothing of the kind in this case” (here you show the opposite side of the pack), “but, to give a still more conclusive proof, I will for the future keep the whole of the pack behind me, and name each card before I bring it forward. Perhaps, to preclude any idea of arrangement of the cards, some one will kindly shuffle them.” When the cards are returned, you give them a slight additional71 shuffle yourself, and remarking, “They are pretty well shuffled now, I think,” continue the trick by the

Second Method.—Glance, as before, at the bottom card. Place the cards behind you, and name the card you have just seen. Passing the right hand behind you, palm the top card, and then taking hold of the bottom card (the one you have just named) face outwards, with the two first fingers and thumb of the same hand, bring it forward and throw it on the table. Pause for a moment before you throw it down, as if asking the company to verify the correctness of your assertion, and glance secretly at the card which is curled up in your palm. Again place your hands behind you, call the name of the card you last palmed, and palm another. You can, of course, continue the trick as long as you please, each time naming the card which you palmed at the last call. You should take care to have a tolerably wide space between yourself and your audience, in which case, with a very little management on your part, there is little fear of their discovering the secret of the palmed card.

You should not be in too great a hurry to name the card you have just seen, or the audience may suspect that you gained your knowledge in the act of bringing forward the card you last named. To negative this idea, you should take care first to bring forward again the right hand, manifestly empty, and do your best to simulate thought and mental exertion before naming the next card.

To make Four Cards change from Eights to Twos, from Black to Red, etc.—For this trick you require three specially prepared cards. The backs should be similar to those of the pack which you have in ordinary use, the faces being as depicted in Fig. 36. They may be purchased at any of the conjuring depôts.

You place these three cards privately at the bottom of the pack. You begin by remarking that you will show the company a good trick with the four eights and the two of diamonds. (If you use a piquet pack, you must provide72 yourself with a special two of diamonds, of similar pattern to the rest of the pack.) You take the pack, and picking out the four genuine eights, hand them for examination. While they are being inspected, you insert the little finger of your left hand between the three bottom cards (the prepared cards) and the rest of the pack. When the eights are returned, you place them with apparent carelessness on the top of the pack (taking care, however, to have the eight of clubs uppermost), and hand the two of diamonds for examination. While this card is being examined, you make the pass to bring the three prepared cards on the top. The two of diamonds being returned, you lay it on the table, and taking off the four top cards, which are now the three prepared cards and the eight of clubs, you spread them fanwise, when they will appear to be the four eights, as in Fig. 37. The eight of clubs is alone completely visible, one half of each of the other cards being covered by the card next preceding it. The spectators naturally take the four cards to be the four ordinary eights which they have just examined. Insert the two of diamonds behind the eight of clubs, and lay that card in turn on the table. Close the cards and again spread them, but this time with the opposite ends outward, when they will appear to be the four twos, as in Fig. 38. Again take in the eight of clubs in place of the two of diamonds, and turn round the supposed two of hearts. This you may do easily and naturally by remarking, “I must now touch something black; my coat-sleeve will do. I gently pass either card along it, thus, and replace it as before. The cards are now all black cards,” which they actually73 appear to be. (See Fig. 39.) Again substitute the two of diamonds for the eight of clubs, touch any red object, and again turn and spread out the cards, when they will appear to be all red cards, as in Fig. 40. Once more take in the eight of clubs in place of the two of diamonds, and replace the four cards on the pack, again making the pass in order to bring the three prepared cards to the bottom, and to leave the genuine eights on the top.

There is a more elaborate form of this trick procurable at the conjuring depôts, in which several groups of cards are used in succession, and the changes are proportionately multiplied, various colours and patterns being produced in the place of the ordinary figures on the cards. In our own opinion, the trick loses rather than gains by this greater elaboration, as the more fanciful changes have the disadvantage of showing clearly (which the simpler form of the trick does not) that the cards used are not ordinary cards; and this being once understood, the magic of the trick is destroyed.

We have had occasion more than once to direct you to turn round the cards, and it will be well for you to know how to do this neatly and without exciting suspicion. Hold the four cards fanwise in the left hand, the fingers behind and the thumb in front of the cards. Having exhibited them, turn their faces towards yourself, and with the thumb and finger of the right hand close the fan, and taking them by their upper ends lay them face downwards on the table. Their lower ends will now be away from you, and when you desire again to exhibit the cards (in a transformed condition), you have only to turn them over sideways, and pick them up by the ends which are now directed towards you. This little artifice (which is simplicity itself in practice, though a little difficult to describe) must be carefully studied, as upon neat manipulation in this respect the illusion of the trick mainly depends.

A Card having been Drawn and Returned, and the Pack shuffled, to make it Appear at such Number as the Company74 Choose.D—Invite a person to draw a card. Spread out the pack that he may replace it, and slip your little finger above it. Make the pass in order to bring the chosen card to the top; palm it, and offer the pack to be shuffled. When the pack is returned to you, replace the chosen card on the top, and make the first of the false shuffles above described, but commence by sliding off into the right hand the two top cards (instead of the top card only), so that the chosen card may, after the shuffle, be last but one from the bottom. Take the pack face downwards in the left hand, and carelessly move about the pack so that the bottom card may be full in view of the audience. Inquire at what number the company would like the card to appear; and when they have made their decision, hold the pack face downwards, and with the first and second fingers of the right hand draw away the cards from the bottom one by one, throwing each on the table face upwards, and counting aloud “one,” “two,” “three,” and so on. The first card which you draw is naturally the bottom one, and the chosen card, which is second, would in the ordinary course come next; but you “draw back” this card with the third finger of the left hand (see page 36) and take the next instead, continuing in like manner until you have reached one short of the number at which the card is to appear. You now pause, and say, “The next card should be the card you drew. To avoid any mistake, will you kindly say beforehand what it was?” at the same time placing the card face downwards on the table. When the card is named, you request the drawer or some other person to turn it up, when it is found to be the right one.

Another Method.—The card having been drawn and replaced, bring it to the top by the pass, palm it, have the pack shuffled, and replace it on the top. Invite the audience to choose at what number it shall appear. They choose, we will suppose, fifth. “Very good,” you reply; “permit me, in the first place, to show you that it is not there already.” Deal out the first five cards, face downwards, and show that the fifth is not the chosen card. Replace the five cards, in their present order on the pack, when the card will be at the number named.

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Several Persons having each Drawn and Returned a Card, to make each Card appear at such Number in the Pack as the Drawer chooses.—Allow three or four persons each to draw a card. When all have drawn, make the pass in such manner as to bring the two halves of the pack face to face. The pack should not, however, be equally divided. The upper portion should only consist of about half-a-dozen cards, and therefore in making the pass you should insert the finger only at that number of cards from the bottom. Receive back the drawn cards on the top of the pack, “ruffling” the cards (see page 27), and saying “Pass!” as each card is replaced. You may casually remark, “Your card has vanished; did you see it go?” When all are returned, you quickly “turn over” the pack (see page 37), and, taking off the top card, say, addressing yourself to the person who last returned a card, “You see your card has vanished, as I told you. At what number in the pack, say from the first to the tenth, would you like it to re-appear?” We will suppose the answer to be “the sixth.” You deal five cards from the end of the pack that is now uppermost, then pretending a momentary hesitation, say, “I fancy I dealt two cards for one; allow me to count them again.” This draws the general attention to the cards on the table, and gives you the opportunity to again turn over the pack. You continue, after counting, “We have five, this makes six; then this should be your card. Will you say what the card was?” You place the card on the table, face downwards, and do not turn it till it is named, this giving you the opportunity to again turn over the pack, to be ready to repeat the operation with the next card. You must be careful to invite the different persons to call for their cards in the reverse order to that in which they are replaced in the pack. Thus, you first address the person who last returned his card, and then the last but one, and so on. You must tax your ingenuity for devices to take off the attention of the spectators from the pack at the moment when it is necessary to turn it over; and as each repetition of the process increases the chance of detection, it is well not to allow more than three or four cards to be drawn.

If you have reason to fear that the cards left undealt will run short, you may always replace any number of those already dealt upon the reverse end of the pack to that at which the chosen cards are.

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The “Three Card” Trick.—This well-known trick has long been banished from the répertoire of the conjuror, and is now used only by the itinerant sharpers who infest race-courses and country fairs. We insert the explanation of it in this place as exemplifying one form of sleight-of-hand, and also as a useful warning to the unwary.

In its primary form, the trick is only an illustration of the well-known fact that the hand can move quicker than the eye can follow. It is performed with three cards—a court card and two plain cards. The operator holds them, face downwards, one between the second finger and thumb of the left hand, and the other two (of which the court card is one) one between the first finger and thumb, and the other between the second finger and thumb of the right hand, the latter being the outermost. Bringing the hands quickly together and then quickly apart, he drops the three cards in succession, and challenges the bystanders to say which is the court card. If the movement is quickly made, it is almost impossible, even for the keenest eye, to decide with certainty whether the upper or lower card falls first from the hand, and consequently which of the three cards, as they lie, is the court card. This is the whole of the trick, if fairly performed, and so far it would be a fair subject for betting, though the chances would be much against the person guessing; but another element is introduced by the swindling fraternity, which ensures the discomfiture of the unwary speculator. The operator is aided by three or four confederates, or “bonnets,” whose business it is to start the betting, and who, of course, are allowed to win. After this has gone on for a little time, and a sufficient ring of spectators has been got together, the operator makes use of some plausible pretext to look aside from the cards for a moment. While he does so one of the confederates, with a wink at the bystanders, slily bends up one corner of the court card, ostensibly as a means of recognition. The performer takes up the cards without apparently noticing the trick that has been played upon him, but secretly (that corner of the card being concealed by the third and fourth fingers of the right hand) straightens the bent corner, and at the same moment bends in like manner the corresponding corner of the other card in the same hand. He then throws down the cards as before. The bent corner is plainly visible,77 and the spectators, who do not suspect the change that has just been made, are fully persuaded that the card so bent, and no other, is the court card. Speculating, as they imagine, on a certainty, they are easily induced to bet that they will discover the court card, and they naturally name the one with the bent corner. When the card is turned, they find, to their disgust, that they have been duped, and that the dishonest advantage which they imagined they had obtained over the dealer was in reality a device for their confusion.

To Nail a Chosen Card to the Wall.—Procure a sharp drawing pin, and place it point upwards on the table, mantelpiece, or any other place where it will not attract the notice of the spectators, and yet be so close to you that you can cover it with your hand without exciting suspicion. Ask any person to draw a card. When he returns it to the pack, make the pass to bring it to the top, palm it, and immediately offer the pack to be shuffled. While this is being done, place your right hand carelessly over the pin, so as to bring the centre of the card as near as possible over it, and then press gently on the card, so as to make the point of the pin just penetrate it.

When the pack is returned, place the palmed card upon the top, and thus press home the pin, which will project about a quarter of an inch through the back of the card. Request the audience to indicate any point upon the woodwork of the apartment at which they would like the chosen card to appear; and when the spot is selected, stand at two or three feet distance, and fling the cards, backs foremost, heavily against it, doing your best to make them strike as flat as possible, when the other cards will fall to the ground, but the selected one will remain firmly pinned to the woodwork. Some little practice will be necessary before you can make certain of throwing the pack so as to strike in the right position. Until you can be quite sure of doing this, it is better to be content with merely striking the pack against the selected spot. The result is the same, though the effect is less surprising than when the cards are actually thrown from the hand.

The Inseparable Sevens.—Place secretly beforehand three of the four eights at the bottom of the pack, the fourth eight, which is78 not wanted for the trick, being left in whatever position it may happen to occupy. (The suit of this fourth eight must be borne in mind, for a reason which will presently appear.) Now select openly the four sevens from the pack, and spread them on the table. While the company are examining them, privately slip the little finger of the left hand immediately above the three eights at the bottom, so as to be in readiness to make the pass. Gather up the four sevens, and place them on the top of the pack, taking care that the seven of the same suit as the fourth eight is uppermost. Make a few remarks as to the affectionate disposition of the four sevens, which, however far apart they are placed in the pack, will always come together; and watch your opportunity to make the pass, so as to bring the three eights, originally at the bottom, to the top. If you are sufficiently expert, you may make the pass at the very instant that you place the four sevens on the top of the pack; but, unless you are very adroit, it is better to bide your time and make it an instant later, when the attention of the audience is less attracted to your hands. You then continue, “I shall now take these sevens (you can see for yourselves that I have not removed them), and place them in different parts of the pack.” At the words, “You can see for yourselves,” etc., you take off the four top cards, and show them fanwise. In reality, three of them are eights, but the fourth and foremost card being actually a seven, and the eighth pip of each of the other cards being concealed by the card before it, and the audience having, as they imagine, already seen the same cards spread out fairly upon the table, there is nothing to suggest a doubt that they are actually the sevens. (You will now see the reason why it is necessary to place uppermost the seven of the same suit as the absent eight. If you had not done so the seven in question would have been of the same suit as one or other of the three sham sevens, and the audience, knowing that there could not be two sevens of the same suit, would at once see through the trick.) Again folding up the four cards you insert the top one a little above the bottom of the pack, the second a little higher, the third a little higher still, and the fourth (which is a genuine seven) upon the top of the pack. The four sevens, which are apparently so well distributed throughout the pack, are really together on the top, and you have only to make the pass, or, if you prefer it, simply cut79 the cards, to cause them to be found together in the centre of the pack.

The Inseparable Aces.—This is really only another form of the last trick, though it differs a good deal in effect. You first pick out and exhibit on the table the four aces, and request some one to replace them on the pack, when you place three other cards secretly upon them. This you may either do by bringing three cards from the bottom by the pass, or you may, while the company’s attention is occupied in examining the aces, palm three cards from the top in the right hand, and, after the aces are replaced on the top, simply cover them with that hand, thereby bringing the three palmed cards upon them. You now say, “I am about to distribute these aces in different parts of the pack; pray observe that I do so fairly.” As you say this, you take off and hold up to the audience the four top cards, being the three indifferent cards with an ace at the bottom. You cannot, of course, exhibit them fanwise, as in the last trick, or the deception would be at once detected; but the spectators, seeing an ace at the bottom, and having no particular reason for suspecting otherwise, naturally believe that the cards you hold are really the four aces. Laying the four cards on the table, you distribute them, as in the last trick, in different parts of the pack; taking care, however, that the last card (which is the genuine ace), is placed among the three already at the top.

You now invite some one to cut. When he has done so, you take up the two halves, in their transposed position, in the left hand, at the same time slipping the little finger of that hand between them. The four aces are now, of course, upon the top of the lower packet. You then announce, “I am now about to order the four aces, which you have seen so well divided, to come together again. Would you like them to appear on the top, at the bottom, or in the middle of the pack? I should tell you that I know perfectly well beforehand which you will choose, and indeed I have already placed them at that particular spot.” If the answer is, “In the middle,” you have only to withdraw the little finger, and invite the company to examine the pack to see that they are already so placed. If the answer is, “On the top,” you make the pass to bring them there. To produce them80 at the bottom is rather more difficult, and unless you are pretty confident as to your neatness of manipulation, it will be well to limit the choice to “top” or “middle.” In order to be able to bring the four aces to the bottom, you must, in picking up the cards after the cut, push forward a little with the left thumb the four top cards of the lower packet, and slip the little finger below and the third finger above them, so as to be able to make the pass above or below those four cards as occasion may require. If you are required to bring those four cards to the top, you must withdraw the little finger (thereby joining those cards to the upper cards of the lower packet) and make the pass with the aid of the third finger instead of the fourth. If, on the contrary, you desire to produce the four aces at the bottom, you simply withdraw the third finger, thereby leaving the aces at the bottom of the upper packet, when the pass will bring them to the bottom of the pack.

We have described the trick as performed with the aces, but the effect will, of course, be the same with four kings, four queens, or any other four similar cards.

Having placed the Four Aces in different positions in the Pack, to make the two Black change places with the two Red ones, and finally to bring all Four together in the middle of the Pack.—This trick may immediately follow that last described. Again selecting the four aces (or such other four cards as you used for the last trick), and placing them on the table, take the two red ones, and opening the pack bookwise in the left hand, ostentatiously place them in the middle, at the same time secretly slipping your little finger between them. Ask the audience to particularly notice which of the aces are placed in the middle, and which at top and bottom. Next place one of the black aces on the top, and then turning over the pack by extending your left hand, place the remaining black ace at the bottom. As you again turn over the pack to its former position, make the pass, which the movement of the pack in turning over in the hand will be found to facilitate. The two halves of the pack having now changed places, the aces will, naturally, have changed their positions also, the two black ones now being in the middle, and the two red ones at top and bottom;81 but it would be very indiscreet to allow the audience to know that this is already the case. As has been already mentioned, when a given change has taken or is about to take place, you should always seek to mislead the spectators as to the time of the change, as they are thereby the less likely to detect the mode in which it is effected. In accordance with this principle, you should endeavour in the present case to impress firmly upon the minds of your audience that the cards are as they have seen you place them; and for that purpose it is well to ask some one to say over again, for the general satisfaction, in what parts of the pack the four aces are.

At this point a contretemps may arise, for which it is well to be prepared. The person interrogated may possibly forget the relative position of the two colours, and may, therefore, ask to see again how the cards are placed; or some person may have seen or suspected that you have already displaced them, and may make a similar request for the purpose of embarrassing you. In order to be prepared for such a contingency, it is desirable, after you make the pass as above mentioned, not to allow the two halves of the pack to immediately coalesce, but to keep them still separated by the little finger. If you have done this, and for any reason it becomes necessary to show the cards a second time in their original condition, you have only to again make the pass, in order to bring them back to the same position which they occupied at first, making it a third time in order to effect the change.

We will suppose that the audience are at length fully satisfied that the two red aces are in the middle, and the two black ones at the opposite ends of the pack. You then say, “Ladies and gentlemen, I am about to command these aces to change places. Pray observe by what a very simple movement the transposition is effected.” Making a quick upward movement with the right hand, you ruffle the cards, at the same moment saying, “Pass!” Turning the faces of the card to the audience, you show them that the red aces are now at top and bottom, and the black ones in the middle. While exhibiting them, take an opportunity to slip the little finger between these latter, and in closing the cards (while they are still face upwards), again make the pass, and place the pack face downwards on the table. You then say, “I have now, as you see, made the aces change places. I82 don’t know whether you saw how I did it. Perhaps I was a little too quick for you. This time I will do it as slowly as you please, or, if you prefer it, I will not even touch the cards with my hands, but merely place my wand upon the pack, so. Pass! Will you please to examine the pack for yourselves, when you will find that the aces have again changed places, and have returned to their original positions.” This is found to be the case. You continue, “You have not found me out yet? Well, to reward your attention, as this really is a very good trick, I will show you how to do it for yourselves.” Pick out the four aces, and hand the two red ones to one person, and the two black ones to another person. Then, taking the pack in your left hand, and addressing yourself first to the person on your right, request him to place the two aces which he holds respectively at the top and bottom of the pack. Then, turning to the other person, request him to place the two other aces in the middle of the pack, which you (apparently) open midway with the right hand for the purpose. In reality, instead of merely lifting up, as you appear to do, the top half of the pack, you make the pass by sliding out the bottom half of the pack to the left. This movement is completely lost in your quick half turn to the left as you address the second person, which so covers the smaller movement of the cards as to make it absolutely imperceptible; and it is in order to create the excuse for this useful half turn, that we have recommended you to place the aces in the hands of two different persons, and to begin with the person on your right. When the second pair of aces are thus replaced in the middle of the pack they are in reality placed between the two others, which the audience believe to be still at top and bottom. You now hand the pack to a person to hold, placing it face downwards in his palm, and requesting him to hold it very tightly, thus preventing any premature discovery of the top or bottom card. You then say, “I have promised to show you how to perform this trick. To make it still more striking, we will have this time a little variation. Instead of merely changing places, we will make all the four aces come together.” Then, addressing the person who holds the cards, you continue, “The manner of performing this trick is simplicity itself, though it looks so surprising. Will you take my wand in your right hand? Hold the cards very tightly, and touch83 the back with this end of the wand. Quite right. Now say ‘Pass!’ It is very simple, you see. Let us see whether you have succeeded. Look over the pack for yourself. Yes, there are the aces all together, as well as I could have done it myself. You can try it again by yourself at your leisure, but please don’t tell any one else the secret, or you will ruin my business.”

The above delusive offer to show “how it’s done” can be equally well adapted to many other tricks, and never fails to create amusement.

A Card having been thought of, to make such Card Vanish from the Pack, and be Discovered wherever the Performer pleases.—This trick should be performed with twenty-seven cards only. You deal the cards, face upwards, in three packs, requesting one of the company to note a card, and to remember in which heap it is. When you have dealt the three heaps, you inquire in which heap the chosen card is, and place the other two heaps, face upwards as they lie, upon that heap, then turn over the cards, and deal again in like manner. You again inquire which heap the chosen card is now in, place that heap undermost as before, and deal again for the third time, when the card thought of will be the first card dealt of one or other of the three heaps. You have, therefore, only to bear in mind the first card of each heap to know, when the proper heap is pointed out, what the card is. You do not, however, disclose your knowledge, but gather up the cards as before, with the designated heap undermost; when the cards are turned over, that heap naturally becomes uppermost, and the chosen card, being the first card of that heap, is now the top card of the pack. You palm this card, and hand the remaining cards to be shuffled. Having now gained not only the knowledge, but the actual possession, of the chosen card, you can finish the trick in a variety of ways. You may, when the pack is returned replace the card on the top, and giving the pack, face upwards, to a person to hold, strike out of his hand all but the chosen card (see page 44); or you may, if you prefer it, name the chosen card, and announce that it will now leave the pack, and fly into a person’s pocket, or any other place you choose to name, where, it being already in your hand, you can very easily find it. A very84 effective finish is produced by taking haphazard any card from the pack, and announcing that to be the chosen card, and on being told that it is the wrong card, apologizing for your mistake, and forthwith “changing” it by the fifth method (see page 32) to the right one.

Some fun may also be created as follows:—You name, in the first instance, a wrong card—say the seven of hearts. On being told that that was not the card thought of, you affect surprise, and inquire what the card thought of was. You are told, let us say, the king of hearts. “Ah,” you remark, “that settles it; I felt sure you were mistaken. You could not possibly have seen the king of hearts, for you have been sitting on that card all the evening. Will you oblige me by standing up for a moment,” and, on the request being complied with, you apparently take the card (which you have already palmed) from off the chair on which the person has been sitting. The more shrewd of the company may conjecture that you intentionally named a wrong card in order to heighten the effect of the trick; but a fair proportion will always be found to credit your assertion, and will believe that the victim had really, by some glamour on your part, been induced to imagine he saw a card which he was actually sitting on.

This trick is frequently performed with the whole thirty-two cards of the piquet pack. The process and result are the same, save that the card thought of must be one of the twenty-seven cards first dealt. The chances are greatly against one of the last five cards being the card thought of, but in such an event the trick would break down, as it would in that case require four deals instead of three to bring the chosen card to the top of the pack.

It is a good plan to deal the five surplus cards in a row by themselves, and after each deal, turn up one of them, and gravely study it, as if these cards were in some way connected with the trick.

To cause a Number of Cards to Multiply invisibly in a Person’s keeping.—Secretly count any number, say a dozen, of the top cards, and slip the little finger of the left hand between those cards and the rest of the pack. Invite a person to take as many cards as he pleases, at the same time putting into his hands all, or nearly all, of the separated cards. If he does not take all, you will be able to see at a glance, by the number that remains above your little finger,85 how many he has actually taken. Pretend to weigh in your hand the remaining cards, and say (we assume that you are using a piquet pack), “I should say by the weight that I have exactly twenty-two cards here, so you must have taken ten. Will you see if I am right?” While he is counting the cards he has taken, count off secretly from the pack, and palm in the right hand, four more. When he has finished his counting, you say, “Now will you please gather these cards together, and place your hand firmly upon them?” As you say this, you push them towards him with your right hand. This enables you to add to them, without attracting notice, the four cards in that hand. Continue, “Now how many cards shall I add to those in your hand? You must not be too extravagant, say three or four.” The person addressed will probably select one or other of the numbers named, but you must be prepared for the possibility of his naming a smaller number. If he says “Four,” you have only to ruffle the cards in your hand, or make any other gesture which may ostensibly effect the transposition; and he will find on examination that the cards under his hand are increased by four, according to his desire. If he says “Three,” you say, “Please give me back one card, to show the others the way.” This makes the number right. If “two” are asked for, you may ask for two cards to show the way; or you may say, “Two, very good! Shall I send a couple more for anybody else?” when some one or other is pretty sure to accept your offer. If one only is asked for, you must get two or three persons to take one each, taking care always by one or the other expedient to make the number correspond with the number you have secretly added. While the attention of the company is attracted by the counting of the cards, to see if you have performed your undertaking, again palm the same number of cards as was last selected (suppose three), and, after the cards are counted, gather them up, and give them to some other person to hold, adding to them the three just palmed; then taking that number of cards from the top of the pack, and again replacing them, say, “I will now send these three cards into your hands in the same manner.” Ruffle the cards, as before, and, upon examination, the number of cards in the person’s hands will again be found to be increased by three.

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The Pack being divided into Two Portions, placed in the keeping of two different Persons, to make Three Cards Pass invisibly from the One to the Other.—This trick is identical in principle with the one last described, but the mise en scène is more elaborate, and several circumstances concur to give it a surprising effect. It was a special favourite with the late M. Robert-Houdin, and we shall proceed to describe it as nearly as possible in the form in which it was presented by him.

The performer brings forward a pack of cards, still in the official envelope. These he hands to a spectator, with a request that he will open and count them. He does so, and finds that they have the full complement (of thirty-two or fifty-two, as the case may be). He is next requested to cut the pack into two portions, pretty nearly equal, and to choose one of the packets. Having made his selection, he is further asked to count the cards in the packet chosen. The general attention being, meanwhile, drawn away from the performer, he has ample opportunity to get ready in his right hand, duly palmed, three cards of another pack, but of similar pattern to those of the pack in use. (These may previously be placed either on the servante or in the performer’s right-hand pochette; or he may, if he prefers it, have them ready palmed in his right hand when he comes upon the stage to commence the trick.) The spectator, having duly counted the chosen pack, declares it to consist, say, of seventeen cards. “A capital number for the trick,” remarks the performer. “Now, sir, will you be kind enough to take these seventeen cards in your own hands” (here he pushes them carelessly towards him, and joins the three palmed cards to them), “and hold them well up above your head, that every one may see them. Thank you. Now, as your packet contains seventeen cards, this other” (we are supposing a piquet pack to be used) “should contain fifteen. Let us see whether you have counted right.” The performer himself audibly counts the remaining packet, card by card, on the table: immediately afterwards taking the heap in his left hand, and squaring the cards together, thus obtaining the opportunity to separate and palm in his right hand the three top cards. He continues, “Fifteen cards here—and—how many did you say, sir?—yes, seventeen, which the gentleman holds, make thirty-two. Quite right. Now will some one else oblige me by taking charge of87 these fifteen cards.” He hands the cards with the left hand, and at the same moment drops the three palmed cards into the profonde on the right side, immediately bringing up the hand, that it may be seen empty. “Now, ladies and gentlemen, I will show you a very curious phenomenon, all the more astonishing because you will bear me witness that, from the time the cards were counted, they have not been even one moment in my possession, but have remained in independent custody. Will you, sir” (addressing the person who holds the second packet), “hold up the cards in such a manner that I can touch them with my wand. I have but to strike the cards with my wand once, twice, thrice, and at each touch a card will fly from the packet which you are now holding, and go to join the seventeen cards in the other packet. As this trick is performed by sheer force of will, without the aid of apparatus or dexterity, I shall be glad if you will all assist me by adding the force of your will to mine, which will greatly lighten my labour. At each touch of the wand, then, please, all present, mentally to command a card to pass in the manner I have mentioned. Are you all ready! Then we will make the experiment. One, two, THREE! Did you see the cards pass? I saw them distinctly, but possibly my eyes are quicker than yours. Will each of the gentlemen who hold the cards be good enough to count his packet?” This is done, and it is found that the one holds twenty cards, and the other twelve only.

It is obvious that the two packets now collectively contain duplicates of three cards, while three others are missing; but it is extremely unlikely that any one will suspect this, or seek to verify the constitution of the pack.

To allow several Persons each to draw a Card, and the Pack having been Shuffled, to make another Card drawn haphazard Change successively into each of those first chosen.—Invite a person to draw a card. This first card need not be forced, as it is not essential for you to know what card it is, so long as you afterward keep it in sight. When the card is returned to the pack, insert the little finger under it, and make the pass in order to bring it to the bottom. Make the first of the false shuffles (see page 23), and leave it at the bottom. Again make the pass to bring it to88 the middle of the pack, and force the same card on a second and again on a third person, each time making a false shuffle, and leaving the chosen card, which we will call a, ultimately in the hands of the last person who drew.E When you have concluded the last shuffle, which (the card not now being in the pack) may be a genuine one, you offer the pack to some person who has not yet drawn, and allow him to draw any card he pleases, which second card we will call b. You open the pack, and ask the persons holding the two cards to replace them one on the other; that first chosen, a, being placed last—i.e., uppermost. You make the pass to bring them to the top, and palm them, and then immediately hand the pack to be shuffled by one of the company. This being done, you replace them on the top of the pack, and, spreading the cards, and appearing to reflect a moment, pick out by the backs as many cards as there have been persons who drew (i.e., four) including among them the two cards a and b. Exhibiting the four cards, you ask each drawer to say, without naming his card, whether his card is among them. The reply is, of course, in the affirmative. Each person who drew, seeing his own card among those shown, naturally assumes that the remaining cards are those of the other drawers; and the remainder of the audience, finding the drawers satisfied, are fully convinced that the cards shown are the four which were drawn. You now replace the cards in different parts of the pack, placing the two actually drawn in the middle, and secretly make the pass to bring them to the top. Then, spreading the cards, you invite another person to draw, which you allow him to do wherever he chooses. When he has done so, you request him to name aloud his card, which we will call c. Holding the card aloft, you ask each of the former drawers in succession, “Is this your card?” To which each answers, “No.” After having received this answer for the last time, you “change” the card by the first method (see page 28) for the top card. You now have the card a (the one drawn several times) in your hand, while b has become the top card, and c, which you have just exhibited, is at the bottom. You continue, before showing a, “You are all agreed that this is not your89 card; you had better not be too sure. I will ask you one by one. You, sir,” addressing the first drawer, “are you quite sure this is not your card?” He is obliged to own that it now is his card. “Pardon me,” you say, breathing gently on the back of the card, “it may have been so a moment ago, but now it is this lady’s,” exhibiting it to the second drawer, who also acknowledges it as her card. To the third person you say, “I think you drew a card, did you not? May I ask you to blow upon the back of this card! It has changed again, you see, for now it is your card.” The card having been again recognized, you continue, “There was no one else, I think,” at the same moment again making the change by the first method, so that a is now at bottom and b in your hand. The person who drew b will, no doubt, remind you that you have not yet shown him his card. You profess to have quite forgotten him, and, feigning to be a little embarrassed, ask what his card was. He names it accordingly, upon which you ask him to blow upon the card you hold, and, turning it over, show that it has now turned into that card. Then again making the change, you remark, “Everybody has certainly had his card now.” Then, yourself blowing upon the card you hold, which is now an indifferent one, you show it, and remark, “You observe that now it is nobody’s card.”

In this trick, as in every other which mainly depends upon forcing a given card, there is always the possibility that some person may, either by accident or from a malicious desire to embarrass you, insist upon drawing some other card. This, however, must not discourage you. In the first place, when you have once thoroughly acquired the knack of forcing, the victim will, nine times out of ten, draw the card you desire, even though doing his utmost to exercise, as he supposes, an absolutely free choice; and the risk may be still further diminished by offering the cards to persons whose physiognomy designates them as likely to be good-naturedly easy in their selection. But if such a contretemps should occur in the trick we have just described, it is very easily met. You will remember that the first card drawn is not forced, but freely chosen. It is well to make the most of this fact, and for that purpose, before beginning the trick, to offer the cards to be shuffled by several persons in succession, and specially to draw the attention of the audience to the fact that you90 cannot possibly have any card in view. When the card is chosen, offer to allow the drawer, if he has the slightest suspicion that you know what it is, to return it, and take another. He may or may not accept the offer, but your evident indifference as to the card chosen will make the audience the less likely to suspect you afterwards of desiring to put forward any particular card. If, notwithstanding, a wrong card is drawn the second time, leave it in the hand of the drawer, and at once offer the cards to another person, and again endeavour to force the proper card, a, and let the wrong card take the place of b in the foregoing description. In the very unlikely event of a second wrong card being drawn, leave that also for the moment in the hands of the drawer, and let that card take the place of c in the finish of the trick.

To make Four Aces change to Four Kings, and Four Kings to Four Aces.—This very effective trick is performed by the aid of four cards, which are so prepared as to appear aces on the one side and kings on the other. To make them, take four ordinary aces and four ordinary kings, and peel off half the thickness of each card. This may be easily done by splitting one corner of the card with a sharp penknife, when the remainder can be pulled apart without difficulty. The cards being thus reduced in thickness, paste back to back the king and ace of each suit, placing them in a press or under a heavy weight, that they may dry perfectly smooth and flat. Better still, entrust the process to some person who is accustomed to mounting photographs, when, at a trifling cost, you will have your double-faced cards thoroughly well made.

Place these four cards beforehand in different parts of the pack, the “ace” side downwards, i.e., in the same direction as the faces of the other cards. Place the genuine aces face downwards on the top of the pack, which being thus disposed, you are ready to begin the trick.

Take the pack in your hand, face uppermost. Remark, “For this trick I want the aces and kings,” and pick out, one by one, the real kings and the sham aces. Lay these cards on the table, the kings face upwards, and the prepared cards with the “ace” side uppermost. Draw the attention of the audience to these cards, and91 meanwhile make the pass so as to bring the two halves of the pack face to face, when the four genuine aces will (unknown to the audience) be at the lower end of the pack. Place the four kings ostentatiously upon the opposite end of the pack, i.e., that which is for the time being uppermost.

You now borrow a hat. Placing the pack for a moment on the table, and taking the four false aces in one hand and the hat in the other, place the aces on the table, and cover them with the hat, at the same moment turning them over. Then taking the pack in your hand, once more show the kings, and replacing them, say, “I shall now order these four kings to pass under the hat, and the four aces to return to the pack. I have only to touch the cards with my wand, and say, ‘Pass,’ and the change is accomplished.” As you touch the cards with the wand, turn over the pack (see page 37), the bringing together of the hands and the gentle tap with the wand effectually covering the slight movement of the hand. If you do not use the wand, a semi-circular sweep of the hand which holds the cards in the direction of the hat, as you say “Pass,” will answer the same purpose.

Having shown that the cards have changed according to command, you may, by repeating the process, cause the cards to return to their original positions. It is better not to carry the trick further than this, or some of the audience may possibly ask to be allowed to examine the cards, which would be embarrassing.

After the trick is over, make the pass to bring the pack right again, and then get the double-faced cards out of the way as soon as possible. The best way to do this, without exciting suspicion, is to take them up in the right hand, and apparently turn them over and leave them on the top of the pack, but in reality palm them, and slip them into your pocket, or elsewhere out of sight. After having done this, you may safely leave the pack within reach of the audience, who, if they examine it, finding none but ordinary cards, will be more than ever puzzled as to your modus operandi.

Having made Four Packets of Cards with an Ace at the bottom of each, to bring all Four Aces into whichever Packet the Company may choose.—Take the four aces, or any92 other four cards of equal value, from the pack, and throw them face upwards on the table. While the company’s attention is being drawn to them, make the pass, as in the last trick, so as to bring the two halves of the pack face to face. The company, having satisfied themselves that the four cards shown are really the four aces, and are without preparation, take them up, and replace them face downwards upon the top of the pack, which you hold in the left hand, remarking, “I am going to show you a trick with these four aces. I shall first place them on the table, and put three indifferent cards on each of them.” Meanwhile, get the thumb of the left hand in position for the “turn over,” and the instant that you have drawn off the top card with the right hand, turn over the pack, which the movement of the hands in removing the top card will enable you to do without attracting notice. This top card is really an ace, and you may therefore show it, as if by accident, while placing it on the table. Lay it face downwards, and then place three cards from the end you have just brought uppermost (which the audience will believe to be the other three aces), in a line with it on the table. Next place three more cards, taken from the same end of the pack, upon each of the three cards last dealt. When you come to that first dealt (the genuine ace), before dealing the three cards upon it, you must again turn over the pack, thereby bringing the three aces on the top. You thus have upon the table four packets of four cards each, one packet consisting of aces only, and the remaining three packets of indifferent cards; but the audience imagine that the aces are divided, and that there is one at the foot of each packet. You now ask any one to touch two out of the four packets. The two packets which he touches may include, or may not include, the one containing the four aces. Whichever be the case, take up and put aside the two which do not include the packet of aces, and remark, “We will place these aside,” an observation which will be equally appropriate whether those were the two touched or not. Next ask the same or another person to touch one of the two remaining packets, and in like manner add that one which does not contain the aces to the two already set aside. Placing these three packets on the table, request some one of the company to place his hand upon them, and hold them tightly; then, taking the remaining packet yourself, observe.93 “You have three aces, and I have only one; but by virtue of my magic power I shall compel those three aces to leave your hand, and come to mine, I just touch the back of your hand, so” (touching it with the cards you hold), “and say, ‘Pass.’ The change is already accomplished. Here are all four aces. Please to examine your own cards, when you will find you have not a single ace left. Let me remind you that the audience chose, and not I, which of the four packets you should take, and which one I should retain.”F

There is another method of performing this trick, which dispenses with the necessity of “turning over” the pack. In this case, as you place the four aces on the top of the pack, you insert the little finger of the left hand under the three uppermost, and make the pass to bring these three to the bottom, still, however, keeping the finger between them and the rest of the pack. You deal out the four top cards (supposed to be the four aces), as above, and three others on each of the three non-aces. You next ask some person to draw any three cards (taking care not to let him draw one of the three at the bottom), and place them at the top of the pack. The moment he has done so, you again make the pass, thus bringing the three aces upon them. You then say, taking off (without showing) the three top cards, “Now I will take these three cards, freely drawn from the middle of the pack, and place them here on this last ace.” From this point the course of the trick is the same as already described.

To Change the Four Aces, held tightly by a Person, into Four Indifferent Cards.—This is a most brilliant trick, and puzzles even adepts in card-conjuring. In combination with the “Shower of Aces,” which next follows, it was one of the principal feats of the Elder Conus, and subsequently of the celebrated Comte.

The trick is performed as follows:—You begin by announcing that you require the assistance of some gentleman who never believes anything that he is told. The audience generally take this as a joke,94 but for the purpose of this trick it is really rather an advantage to have the assistance of a person who will take nothing for granted, and will be satisfied with nothing short of ocular demonstration of any fact which you desire him to concede. Some little fun may be made in the selection, but a volunteer having at last been approved of, you request him to step forward to your table. Selecting from the pack the four aces, you ask him to say aloud what cards those are, at the same time holding them up that all may see them. Then laying the aces face upwards on the table, you hand him the remainder of the cards, and ask him to ascertain and state to the company, whether there is any peculiarity about the cards, and whether, in particular, there are any other aces in the pack. His reply is in the negative. You then ask whether any other person would like to examine the pack. All being satisfied, you take the pack, face downwards, in your left hand, and picking up the four aces with the right, place them on the top, at the same moment slightly ruffling the cards. Then taking the aces one by one (without showing them) you place them face downwards on the table. Addressing the person assisting you, you say, “I place these four aces on the table. You admit that they are the four aces.” Your victim, not having seen the faces of the cards since they were replaced on the pack, and having noticed the slight sound produced by your ruffling the cards, will, in all probability, say that he does not admit anything of the sort. “Why,” you reply, “you have only just seen them; but I’ll show them to you again, if you like.” Turning them face upwards, you show that the four cards really are the aces, and again replace them on the pack, ruffle the cards, and deal out the four aces face downwards as before. You again ask your assistant whether he is certain this time that the four cards on the table are the aces. He may possibly be still incredulous, but if he professes himself satisfied, you ask him what he will bet that these cards are really the aces, and that you have not conjured them away already. He will naturally be afraid to bet, and you remark, “Ah, I could tell by the expression of your countenance that you were not quite satisfied. I’m afraid you are sadly wanting in faith, but as I can’t perform the trick, for the sake of my own reputation, until you are thoroughly convinced, I will show you the cards once more.” This you do, and again replace them on the pack,95 but before doing so, slip the little finger of the left hand under the top card of the pack. Again take off the aces with the finger and thumb of the right hand, carrying with them at the same time this top card. Then with a careless gesture of the right hand toward the audience, so as to show them the face of the undermost card (the one you have just added), you continue, “I really can’t imagine what makes you so incredulous. Here are the aces” (you replace the five cards on the pack)—“I take them one by one, so, and place them on the table. Surely there is no possibility of sleight-of-hand here. Are you all satisfied that these are really the aces now?” The audience having noted, as you intended them to do, that the fifth or bottom card was not an ace, naturally conclude that other cards have been by some means substituted for the aces, and when you ask the question for the last time, you are met by a general shout of “No!” You say, with an injured expression, “Really, ladies and gentlemen, if you are all such unbelievers, I may as well retire at once. I should hope that, at least, you will have the grace to apologize for your unfounded suspicions.” Then, turning to the person assisting you, you continue, “Sir, as every act of mine appears to be an object of suspicion, perhaps you will kindly show the company that those are the aces, and replace them yourself on the top of the pack.”

This he does. But during the course of the above little discussion, you have taken the opportunity to count off, and palm in your right hand, the five top cards of the pack. It is hardly necessary to observe that while doing this, you must scrupulously refrain from looking at your hands. The mode of counting is to push forward the cards one by one with the thumb, and to check them with the third finger, of the left hand. A very little practice will enable you to count off any number of cards by feel, in this manner, with the greatest ease. When the aces are replaced on the top of the pack, you transfer the pack from the left to the right hand, thus bringing the palmed cards above them, then placing the whole pack on the table, face downwards, inquire, “Will you be good enough to tell me where the aces are now?” The answer is generally very confident, “On the top of the pack.” Without taking the pack in your hand, you take off, one by one, the four top cards, and lay them face downwards on the table, as before; then taking up the fifth card and exhibiting it to the company,96 observe, “You see there are no more aces left, but if you like you can look through the pack.” So saying, you take up the cards, and run them rapidly over with their faces towards the spectators, taking care, however, not to expose either of the five at the top, four of which are the genuine aces. Then, addressing your assistant, you say, “The company being at last satisfied, perhaps you will be good enough to place your hand on those four cards, and hold them as tightly as possible.” Then, holding the pack in the left hand, you take between the first finger and thumb of the right hand the top card of the pack, being the only one left of the five you palmed and placed over the aces, and say, “Now I am going to take four indifferent cards one after the other, and exchange them for the four aces in this gentleman’s hand. Observe the simplicity of the process. I take the card that first comes to hand” (here you show the face of the card that you hold, which we will suppose to be the seven of diamonds), “I don’t return it to the pack, even for a moment, but merely touch the hand with it, and it becomes the ace of (say) spades” (which you show it to be). At the words “return it to the pack,” you move the card with what is taken to be merely an indicative gesture, towards the pack, and at the same instant “change” it by the third method (see page 30) for the top card of the pack, which is one of the aces.

You now have the seven of diamonds at the top of the pack, with the remaining three aces immediately following it. You must not show this seven of diamonds a second time, and it is therefore necessary to get it out of the way. The neatest way of doing this is as follows:—You remark, “To show you that I take the cards just as they come, I will give them a shuffle,” which you do as indicated for the first of the “false shuffles” (see page 23), subject to the modification following. Pass into the right hand first the top card (the seven of diamonds) alone, and upon this card pass the next three, which are the three aces, then the rest of the cards indifferently. When all the cards are thus passed into the right hand, shuffle them again anyhow, but take care to conclude by bringing the four lowest cards to the top; you will now have the three aces uppermost, and the seven of diamonds in the fourth place. Taking off the top card, and drawing it sharply over the hand of the person assisting, you show that it also is an ace, and in like manner with the next card, making, if you choose,97 a false shuffle between. After the third ace has been shown, make a false shuffle, and finally leave at the top the last ace, with one card above it. This may be effected by bringing up from the bottom in concluding the shuffle the two bottom cards, instead of the last (the ace) only. Taking the top card between the thumb and first finger of the right hand, and showing it with apparent carelessness, so as to give the company the opportunity of remarking that it is not an ace, you replace it on the pack for an instant, saying, “We have had three aces, I think. Which is it that is wanting?” Here you glance down at the aces on the table. “Oh! the ace of diamonds. Then the card that I hold must change to the ace of diamonds.” You have meanwhile effected the change, and turning up the card you hold, you show that it is the ace of diamonds.

You may, if you please, use the first instead of the third method of making the “change” in performing this trick, but the first method demands a higher degree of dexterity to make it equally deceptive; and the movement used in the third method has in this instance the advantage of appearing to be the natural accompaniment of the words of the performer.

The Shower of Aces.—This trick forms a very effective sequel to that last described, or may with equal facility be made to follow many other card tricks. To perform it, the first essential is the possession of a pack of cards similar in size and pattern to that you have in general use, but consisting of aces only. You can purchase such a pack at most of the conjuring depôts, or you may, without much difficulty, manufacture one for yourself. If you decide upon the latter course, you must first procure thirty or forty blank cards backed with the requisite pattern. These you can transform into aces in two ways. The first is, to split three or four ordinary cards of each suit, and, after peeling off, as thin as possible, the face of each, carefully cut out the pips, and paste one in the centre of each of your blank cards. This process, however, takes a considerable time; and, when the sham aces are collected in a pack, the extra thickness of the paper in the centre of each produces an objectionable bulge. The better plan is to procure a stencil-plate representing the figures of a club, heart, and diamond, which will enable you to produce98 any number of the aces of those suits, using Indian ink for the clubs, and vermilion, mixed with a little size, for the hearts and diamonds. The ace of spades you must dispense with, but this is of little consequence to the effect of the trick.

You must have these cards close at hand, in such a position as to enable you to add them instantly, and without attracting observation, to the pack you have been using. If you use the regular conjuror’s table, before described, you may place your pack of aces on the servante. If you do not use such a table, you may place them in one of your pochettes. In either case, you will have little difficulty in reaching them at the right moment, and placing them on the top of the ordinary pack, holding the whole in your left hand, but keeping the little finger between. Having done this, you say to the person who has been assisting you (in continuation of the trick you have just performed), “You appear to be fond of aces, sir. How many would you like?” He is fully convinced, having previously examined the pack, that you have only the ordinary four but, from a desire to put your powers to an extreme test, he may possibly name a larger number—say, seven. “Seven!” you reply; “that is rather unreasonable, seeing there are only four in the pack. However, we will make some more. Do you know how to make aces? No? Then I will show you. Like all these things, it’s simplicity itself, when you once know it. Will you oblige me by blowing upon the pack?” which you hold just under his nose for that purpose. He does so, and you deliberately count off and give to him the seven top cards, which all prove to be aces. You then say, “Perhaps you would like some more. You have only to blow again. Come, how many will you have?” He again blows on the pack, and you give him the number desired. While he is examining them, you cover the pack for a moment with your right hand, and palm a dozen or so of the remaining aces. Then remarking, “You blew a little too strongly that time. You blew a lot of aces into your waistcoat,” you thrust your hand into the breast of his waistcoat, and bring out three or four of the palmed cards, leaving the remainder inside; then pull out two or three more, dropping them on the floor, so as to scatter them about and make them appear as numerous as possible. You then say, “There seem to be a good many more there99 yet. Perhaps you will take them out yourself.” While he is doing so, you palm in the right hand all the remaining aces. When he professes to have taken out all, you say, “Are you quite sure that you have no more aces about you? You blew very hard, you know. I really think you must have some more. Will you allow me?” Then, standing on his right, you place your right hand just below his eyes, and spring the remaining aces from it, in the manner indicated for springing the cards from hand to hand (see page 37), the effect being exactly as if a shower of cards flew from his nose.

Several Persons having each drawn Two Cards, which have been Returned and Shuffled, to make each Couple Appear in Succession, one at the top and the other at the bottom of the Pack.—This capital trick was also a great favourite with Comte, who christened it, for reasons best known to himself, by the poetical name of “The Ladies’ Looking-glass.”

The cards having been freely shuffled, you invite a person to draw two cards, allowing him free choice. Opening the pack in the middle, you ask him to place his cards together in the opening. You bring them to the top by the pass, make the first of the false shuffles, and conclude by leaving them on the top. Offer the cards to a second person to draw a couple, but in opening the cards for him to return them, make the pass, so that they may be placed upon the pair already drawn, which are thereby brought to the middle of the pack. Again make the pass, so as to bring all four to the top. Make another false shuffle, leaving those four on the top, and offer the cards to a third and fourth person, each time repeating the process. Make the false shuffle for the last time, so as to leave all the drawn cards in a body on the top of the pack, with one indifferent card above them. The audience believe that they are thoroughly dispersed, and your first care must be to strengthen that impression. If you are expert in card-palming, you may palm the nine cards, and give the pack to be shuffled by one of the spectators; but this is not absolutely necessary, and there is some risk of the company noticing the absence of part of the pack. You remark, “You have all seen the drawn cards placed in different parts of the pack, and the whole have been since thoroughly shuffled. The drawn100 cards are therefore at this moment scattered in different parts of the pack. I can assure you that I do not myself know what the cards are” (this is the only item of fact in the whole sentence); “but yet, by a very slight, simple movement, I shall make them appear, in couples as they were drawn, at top and bottom of the pack.” Then, showing the bottom card, you ask, “Is this anybody’s card?” The reply is in the negative. You next show the top card, and make the same inquiry. While you do so, you slip the little finger under the next card, and as you replace the card you have just shown, make the pass, thus bringing both cards to the bottom of the pack. Meanwhile, you ask the last person who drew what his cards were. When he names them, you “ruffle” the cards, and show him first the bottom and then the top card, which will be the two he drew. While exhibiting the top card, take the opportunity to slip the little finger of the left hand immediately under the card next below it, and as you replace the top one make the pass at that point. You now have the third couple placed top and bottom. Make the drawer name them, ruffle the cards, and show them as before, again making the pass to bring the card just shown at top, with that next following, to the bottom of the pack, which will enable you to exhibit the second couple in like manner. These directions sound a little complicated, but if followed with the cards will be found simple enough.

You may, by way of variation, pretend to forget that a fourth person drew two cards, and, after making the pass as before, appear to be about to proceed to another trick. You will naturally be reminded that So-and-so drew two cards. Apologizing for the oversight, you beg him to say what his cards were. When he does so, you say, “To tell you the truth I have quite lost sight of them; but it is of no consequence, I can easily find them again.” Then nipping the upper end of the cards between the thumb and second finger of the right hand, which should be slightly moistened, you make the pack swing, pendulum fashion, a few inches backwards and forwards, when the whole of the intermediate cards will fall out, leaving the top and bottom card alone in your hand. These you hand to the drawer, who is compelled to acknowledge them as the cards he drew.

101

To make Two Cards, each firmly held by a different Person, change places.—For the purpose of this trick you must have a duplicate of some one of the cards, say the knave of spades, and you must arrange your pack beforehand as follows: The bottom card must be a knave of spades; the next to it an indifferent card, say the nine of diamonds; and next above that, the second knave of spades. You come forward carelessly shuffling the cards (which you may do as freely as you please as to all above the three mentioned), and finish by placing the undermost knave of spades on the top. The bottom card will now be the nine of diamonds, with a knave of spades next above it. Holding up the pack in your left hand, in such a position as to be ready to “draw back” the bottom card (see page 36), you say, “Will you all be kind enough to notice and remember the bottom card, which I will place on the table here, so as to be in sight of everybody.” So saying, you drop the pack to the horizontal position, and draw out with the middle finger of the right hand apparently the bottom card, but really slide back that card, and take the one next to it (the knave of spades), which you lay face downwards on the table, and ask some one to cover with his hand. You then (by the slip or pass) bring the remaining knave of spades from the top to the bottom, and shuffle again as before, taking care not to displace the two bottom cards. Again ask the company to note the bottom card (which is now the knave of spades), and draw out, as before, apparently that card, but really the nine of diamonds. Place that also face downwards on the table, and request another person to cover it with his hand. The company are persuaded that the first card thus drawn was the nine of diamonds, and the second the knave of spades. You now announce that you will compel the two cards to change places, and after touching them with your wand, or performing any other mystical ceremony which may serve to account for the transformation, you request the person holding each to show his card, when they will be found to have obeyed your commands. The attention of the audience being naturally attracted to the two cards on the table, you will have little difficulty in palming and pocketing the second knave of spades, which is still at the bottom of the pack, and which, if discovered, would spoil the effect of the trick.

102

To Change Four Cards, drawn haphazard, and placed on the table, into Cards of the same Value as a Single Card subsequently chosen by one of the Spectators.—This trick is on the same principle as that last above described, but is much more brilliant in effect. To perform it, it is necessary, or at least desirable, to possess a forcing pack consisting of one card several times repeated. We will suppose your forcing pack to consist of queens of diamonds. Before commencing the trick, you must secretly prepare your ordinary pack in the following manner:—Place at the bottom any indifferent card, and on this a queen; then another indifferent card, then another queen; another indifferent card, then another queen; another indifferent card, and on it the fourth and last queen. You thus have at the bottom the four queens, each with an ordinary card next below it. Each indifferent card should be of the same suit as the queen next above it, so that all of the four suits may be represented. Shuffle the cards, taking care however, not to disturb the eight cards above mentioned. Then say, “I am about to take four cards from the bottom, and place them on the table. Will you please to remember what they are?” Show the bottom card, then, dropping the pack to the horizontal position, “draw back” that card, and take the next, which is one of the queens, and, without showing it, lay it face downwards on the table. You now want to get rid of the card you have already shown, which is still at the bottom. To effect this without arousing suspicion, the best and easiest plan is to shuffle each time after drawing a card, not disturbing the arranged cards at the bottom, but concluding the shuffle by placing the bottom card, which is the one you desire to get rid of, on the top of the pack. Thus after each shuffle you are enabled to show a fresh bottom card, which, however, you slide back, and draw the next card (a queen) instead. Repeat this four times, when you will have all four queens on the table, though the audience imagine them to be the four cards they have just seen. In order to impress this more fully upon them, ask some one to repeat the names of the four cards. While the attention of the audience is thus occupied, you secretly exchange the pack you have been using for your forcing pack, and advancing to the audience say, “Now I shall ask some one to draw a card; and whatever card is drawn, I will,103 without even touching them, transform the four cards on the table to cards of the same value. Thus, if you draw a king they shall all become kings; if you draw a ten, they shall become tens, and so on. Now, choose your card, as deliberately as you please.” You spread the cards before the drawer, allowing him perfect freedom of choice, as, of course, whatever card he draws must necessarily be a queen of diamonds. You ask him to be good enough to say what the card he has drawn is, and on being told that it is a queen, you say, “Then, by virtue of my magic power, I order that the four cards now on the table change to queens. Pray observe that I do not meddle with them in any way. I merely touch each with my wand, so! Will some one kindly step forward, and bear witness that the change has really taken place.”

If you do not possess a forcing pack, but rely upon your own skill in forcing with an ordinary pack, it is well to prepare this second beforehand by placing the four queens (supposing that you desire a queen to be drawn) at the bottom. Making the pass as you advance to the company, you bring these to the middle and present the pack. It is comparatively easy to insure one or other of four cards placed together being drawn.

Two Heaps of Cards, unequal in Number, being placed upon the Table, to predict beforehand which of the two the Company will choose.—There is an old schoolboy trick, which consists in placing on the table two heaps of cards, one consisting of seven indifferent cards, and the other of the four sevens. The performer announces that he will predict beforehand (either verbally or in writing) which of the two heaps the company will choose; and fulfils his undertaking by declaring that they will choose “the seven heap.” This description will suit either heap, being in the one case understood to apply to the number of cards in the heap, in the other case to denote the value of the individual cards.

The trick in this form would not be worth noticing, save as a prelude to a newer and really good method of performing the same feat. You place on the table two heaps of cards, each containing the same number, say six cards, which may be the first that come to hand, the value of the cards being in this case of no consequence.104 You announce that, of the two heaps, one contains an odd and the other an even number. This is, of course, untrue; but it is one of the postulates of a conjuror’s performance that he may tell professionally as many fibs as he likes, and that his most solemn asseverations are only to be taken in a Pickwickian sense. You continue, “I do not tell you which heap is odd and which is even, but I will predict to you, as many times as you like, which heap you will choose. Observe, I do not influence your choice in any way. I may tell you that you will this time choose the heap containing the odd number.” While delivering this harangue, you take the opportunity of palming in your right hand a single card from the top of the pack, and place the remainder of the cards apart on the table. When the audience have made their choice, you pick up the chosen heap with the right hand, thereby adding the palmed card to that heap, and, coming forward, ask some one to verify your prediction. The number is, naturally, found to be odd. You then bring forward the second heap, which is found to be even. Join the two heaps together, and again separate them, palming the top card of the odd heap, replace the two heaps on the table, and this time predict that the audience will choose the heap containing the even number. When they have made their selection, you have only to pick up the non-chosen heap with the hand containing the palmed card, and the chosen heap with the empty hand.

You may with truth assure the audience that you could go on all the evening predicting their choice with equal certainty, but it is best not to repeat the trick too often. You will do wisely to pass on at once to the next trick, which will enable you to display your powers of divination in a yet more surprising form.

A Row of Cards being placed Face Downwards on the Table, to indicate, by turning up one of them, how many of such Cards have during your absence been transferred from one end of the Row to the other.—This trick is somewhat out of place in this chapter, inasmuch as it involves no sleight-of-hand, but we insert it here as forming an appropriate sequel to that last described. It is thus performed:—You deal from the top of the pack, face downwards on the table, a row of fifteen cards. To all105 appearance, you are quite indifferent what cards you take, but, in reality, you have pre-arranged the first ten cards in the following manner:—First a ten, then a nine, then an eight, and so on down to the ace inclusive. The suits are of no consequence. The eleventh card should be a blank card, if you have one of the same pattern as the pack; if not, a knave will do. This card, in the process which follows, will stand for 0. When the fifteen cards are dealt, their arrangement will therefore be as follows:—

10, 9, 8, 7, 6, 5, 4, 3, 2, 1, 0, *, *, *, *,—

the four asterisks representing any four indifferent cards. This special arrangement is, of course, unknown to the audience. You now offer to leave the room, and invite the audience, during your absence, to remove any number of the cards (not exceeding ten) from the right hand end of the row, and place them, in the same order, at the other end of the row. On your return, you have only to turn up the eleventh card, counting from the beginning or left hand end, which will indicate by its points the number of cards removed. A few examples will illustrate this fact. Thus, suppose that two cards only have been removed from the right to the left hand end, the row thus altered will be as follows:—

*, *, 10, 9, 8, 7, 6, 5, 4, 3, [2], 1, 0, *, *.

The eleventh card from the left will be a two, being the number moved. Suppose that seven cards have been removed, the new arrangement will be—

2, 1, 0, *, *, *, *, 10, 9, 8, [7], 6, 5, 4, 3,

and the card in the eleventh place will be a seven. Suppose the audience avail themselves of your permission to the fullest extent, and remove ten cards, the same result follows.

5, 4, 3, 2, 1, 0, *, *, *, *, [10], 9, 8, 7, 6.

If no card is moved, the 0 will remain the eleventh card, as it was at first. If you repeat the trick a second time, you must replace the cards moved in their original positions. Do not, if you can possibly help it, allow the audience to perceive that you count the cards.

106 You are not necessarily restricted to fifteen cards, but may increase the number up to twenty if you please, making up the complement by increasing the number of the indifferent cards at the right hand of the original row.

The trick may be equally well performed with dominoes, or with numbered pieces of paper, as with playing cards.

Several Cards having been freely chosen by the Company, Returned and Shuffled, and the Pack placed in a Person’s Pocket, to make such Person draw out one by one the chosen Cards.—This trick is an especial favourite of the well-known Herrmann, in whose hands it never fails to produce a brilliant effect. The performer hands the pack to one of the company, who is requested to shuffle it well, and then to invite any four persons each to draw a card. This having been done, the pack is returned to the performer, who then requests the same person to collect the chosen cards face downwards on his open palm. The cards so collected are placed in the middle of the pack, which is then handed to the person who collected them, with a request that he will shuffle them thoroughly. After he has done so, the pack is placed by the performer in the volunteer assistant’s breast-pocket. The performer now asks one of the four persons who drew to name his card. He next requests the person assisting him to touch the end of his wand, and then as quickly as possible (that the mystic influence may not have time to evaporate) to put his hand in his pocket, and draw out the card named. He takes out one card accordingly, which proves to be the very one called for. A second and third card are named and drawn in the same manner, to the astonishment of all, and not least of the innocent assistant. The fourth and last card, which is, say, the ten of spades, he is requested to look for in the pack, but it proves to be missing, and the performer thereupon offers to show him how to make a ten of spades. To do so, he requests him to blow into his pocket, where the missing card is immediately found. But he has, unfortunately, blown too strongly, and has made not only a ten of spades, but a host of other cards, which the performer pulls out in quantities, not only from his pocket, but from the inside of his waistcoat—ultimately producing a final shower from his nose.

107 This trick, which appears marvellous in execution, is really very simple, and depends for its effect, not so much on any extraordinary degree of dexterity, as on the manner and address of the performer. When the four cards are replaced in the middle of the pack, the performer makes the pass to bring them to the top, and palms them. He then hands the pack to be shuffled. When it is returned, he replaces them on the top, and, placing the person assisting him on his left hand, and facing the audience, places the pack in the left breast-pocket of such person, taking care to place the top of the pack (on which are the chosen cards) outwards. In asking the names of the drawn cards, he puts the question first to the person who last replaced his card (and whose card is therefore on the top), and so on. He is particular in impressing upon the person assisting him that he must draw out the card as quickly as possible, thus giving him no time to select a card, but compelling him, so to speak, to take that which is readiest to his hand, which will always be the outermost, or top card.

Should he notwithstanding, by accident or finesse, draw out a card from the middle of the pack, the performer at once says, “Oh, you were not half quick enough! You must pull out the card as quick as thought, or the magic influence will go off. Allow me!” then pulling out the outer card himself, he shows that it is the right one. When three cards have been thus produced, he himself plunges his hand into the pocket, and takes out the whole pack, with the exception of the then top card, which is the fourth of the cards drawn; then, pretending to recollect himself, he says, “Stay; we had four cards drawn. Will you say what your card was, madam?” We have supposed that it was the ten of spades. He hands the pack to the person assisting him, saying, “Will you find the ten of spades, and return it to the lady?” Being in his pocket, of course it cannot be found in the pack, and on blowing into the pocket it is naturally discovered there. The performer meanwhile has palmed about a third of the pack, which he introduces into the pocket at the same moment that he places his hand therein to take out the supposed superfluous cards. From this stage to the close the trick is merely a repetition of that already given under the title of the “Shower of Aces” (see page 97), to which the reader is referred.

108

The Cards having been freely shuffled, and cut into three or four heaps, to name the top Card of each heap.—Note the bottom card of the pack, which we will suppose to be the nine of diamonds. Shuffle the cards, so as to bring this card to the top, and palm it. Then remark, “But perhaps you would rather shuffle for yourselves,” and hand the pack to some one of the company for that purpose. When the pack is returned, replace the card on the top, and continue, placing the pack on the table, “You observe that I do not meddle with the cards in any way. Now will some one be good enough to cut them into two, three, or four parts, when I will at once name the top card of each.” To do this you must take especial notice where the upper part of the pack is placed, as you know that the top card of this particular heap is the nine of diamonds. Placing your finger gravely, not on this, but on one of the other heaps, you say, appearing to reflect, “This is the nine of diamonds.” We will suppose that it is in reality the queen of spades. You take it in your hand without allowing the audience to see it, and, noticing what it is, at once touch the top card of another heap, saying, “And this is the queen of spades.” Glancing in like manner at this card, which is, say, the seven of clubs, you touch another card, and say, “This is the seven of clubs.” We will suppose that this third card is really the ace of hearts. You conclude, taking up the card you have all along known (the real nine of diamonds), “And this last is the ace of hearts.” Then, throwing all four on the table, show that you have named them correctly.

This trick should be performed with considerable quickness and vivacity, so as not to give the audience much time for thought as you name the cards. It is further necessary that the spectators be well in front of you, and so placed that they cannot see the faces of the cards as you pick them up.

To allow a Person secretly to think of a Card, and dividing the Pack into three heaps, to cause the Card thought of to appear in whichever heap the Company may choose.—Hand the pack to the company, with a request that they will well shuffle it. When it is returned, cut the pack into three heaps on the table, and invite some one to secretly think of a card.109 When he has done so, say boldly, “The card you have thought of is in this heap,” touching one of them—say the middle one. “Will you be kind enough to name it?” The person names, say, the queen of spades. You continue, “Your card, as I have already told you, is in this centre heap. To satisfy you that it is so, and that I do not now place it there by means of any sleight-of-hand, I will, in the first place, show you that it is not in either of the other heaps.” Gathering together the two heaps in question, and turning them face upwards, you come forward to the audience, rapidly spreading and running over the cards the while in order to ascertain whether the queen of spades is among them. If it is not, the trick has so far succeeded without any trouble on your part; and, after showing that the card is not among those you hold, you bring forward the remaining packet, and show that you were correct in your assertion. You then say, “I do not generally repeat a trick, but on this occasion, as you may possibly imagine that my success was a mere result of accident, I will perform the trick once more, and, if you please, you shall yourselves name beforehand the packet in which the card thought of shall appear.” The packet having been chosen, you join the other two in your left hand, and invite some one to think of a card. When he has done so, you come forward, as before, to show that it is not among the cards you hold. Luck may again favour you; but if not, and you see the card chosen among those you hold in your hand, you quickly draw it, by a rapid movement of the second finger of the right hand, behind the rest of the pack, and, continuing your examination, show the company, to all appearance, that the card is not there. Having done this, you again turn the pack over (when the card thought of will be on the top), and, covering the pack for a moment with the right hand, palm that card. Then, picking up with the same hand the heap remaining on the table, you place the palmed card on the top, and, transferring the cards to the left hand, you say, “You are welcome to watch me as closely as you please. You will find that I shall cut these cards at the precise card you thought of.” To all appearance you merely cut the cards, but really at the same moment make the pass (by lifting away the lower instead of the upper half of the packet). The upper part of the packet, with the card on the top, remains in the left hand. You request110 some one to look at the top card, which is found to be the card thought of.

Should the card in the first instance prove to be among the non-designated cards, you will proceed as last directed; but do not in this case repeat the trick.

To allow a Person secretly to think of a Card, and, even before such Card is named, to select it from the Pack, and place it singly upon the Table.—This trick is on the same principle, and performed in a great measure by the same means, as that last described. You invite a person to think of a card (without naming it). When he has done so, you offer the pack to another person to shuffle, and finally to a third person to cut. Then, selecting any one card from the pack, you walk to your table, and, without showing what it is, place it face downwards on the table, retaining the rest of the pack in your left hand. Then, addressing the person who was requested to think of a card, you say, “The card which I have just placed on the table is the one you thought of. Will you be good enough to name it?” We will suppose that the card thought of was the ace of spades. You say, as in the last trick, “Allow me to show you, in the first place, that the ace of spades is no longer in the pack.” Coming forward to the audience, and rapidly running over the cards, you catch sight of the ace of spades, and slip it behind the rest. Having shown that it is, apparently, not in the pack, you turn the cards over (when the ace will, of course, be on the top), and palm it. Leaving the pack with the audience, you advance to your table, and pick up the card on the table with the same hand in which the ace of spades is already palmed. Draw away the card towards the back of the table, and, as it reaches the edge, drop it on the servante, and produce the ace of spades as being the card just picked up. The trick requires a little practice, but, if well executed, the illusion is perfect.

The above directions are framed upon the assumption that you are performing with a proper conjuror’s table, which, as already stated, has a servante, or hidden shelf, at the back for the reception of objects which the performer may require to pick up or lay down without the knowledge of his audience. The trick may, however,111 be performed without the aid of such a table, but will, in such case, require some little variation.

If you are using an ordinary table, the most effective mode of finishing the trick is as follows:—Walk boldly to the table, and pick up with the right hand (in which the card actually thought of is palmed) the card lying on the table, and, without looking at it yourself, hold it towards your audience, remarking, “Here it is, you see, the ace of spades.” The card being, in truth, a totally different one (say the seven of diamonds), the audience naturally imagine that the trick has broken down, and a derisive murmur apprises you of the fact. You thereupon glance at the card, and affect some little surprise and embarrassment on finding that it is a wrong one. However, after a moment’s pause, you say, taking the card face downwards between the thumb and second finger of the left hand, “Well, I really don’t know how the mistake could have occurred. However, I can easily correct it.” Change the card by the fifth method (see page 32), and, after a little byplay to heighten the effect of the transformation, again show the card, which this time proves to be the right one. The audience will readily conclude that the supposed mistake was really a feint, designed to heighten the effect of the trick.

A Card having been Secretly Thought of by one of the Audience, to place two Indifferent Cards upon the table, and to Change such one of them as the Audience may select into the Card thought of.—Arrange your pack beforehand in such manner that among the fifteen or sixteen undermost cards there may be only one court card, and note at what number from the bottom this card is. Advance to the company, offering the cards face downwards in the ordinary way, and requesting some person to draw a card. Then, as if upon a second thought, say, before he has time to draw, “Or, if you prefer it, you need not even touch the cards, but merely think of one as I spread them before you.” So saying, spread the cards one by one, with their faces to the company, beginning at the bottom. The single court card being conspicuous among so many plain cards, and there being nothing apparently to create a suspicion of design about the arrangement it is ten to one that the person will note that particular card,112 which we will suppose to be the knave of hearts. When you have run over twelve or fourteen cards in this way, ask, still moving on the cards, “Have you thought of a card?” On receiving an answer in the affirmative, you make the pass two cards below the court card (which you know by the number at which it stands), and forthwith make a false shuffle, leaving the last three cards undisturbed, so that the court card remains third from the bottom. Turning to the audience, you remark, “I will now take the two bottom cards, whatever they may happen to be, and lay them on the table.” Then, holding up the pack in the left hand, with the bottom card towards the audience, you inquire, “That is not your card, sir, I suppose? nor that?” each time lowering the cards in order to draw away with the moistened finger of the right hand, and place face downwards on the table, the card just shown. The second time, however, you do not really draw the card you have shown, but draw back that card and take the one next to it—viz., the knave of hearts. You then, standing behind your table and facing the audience, again repeat the question, “You are quite sure, sir, that neither of these two cards is the card you thought of? Which of them would you like me to transform into your card, the right or the left?” Whichever the answer is, it may be taken in two ways, and you interpret it as may best suit your purpose. Thus, if you have placed the knave of hearts on your own right, and the choice falls on the right-hand card, you interpret it to mean the one on your own right hand. If, on the contrary, the person chooses the card on the left, you interpret him to mean the card on his left, and therefore on your right; so that in either case you make the choice fall on the knave of hearts.G Taking up the other card, and holding it, without apparent design, so that the audience can see what it is, you return it to the pack. Then say boldly, “This card upon the table will forthwith change to the card you thought of. Will you be good enough to name it?” If he names the knave of hearts, you have nothing to do but to turn up, or request some other person to turn up, the card on the table, and show that it is the right one.

113

It is, however, quite possible that the person, by accident or design, may have thought, not of the knave of hearts, but of some other card, say the nine of diamonds. Even in this case you need not be at a loss, although the card on the table is a wrong one. When the card is named, you say, “The nine of diamonds. Quite right! Let me show you, in the first place, that it is not here in the pack.” Advancing to the audience, and at the same time running over the cards, as in the last trick, you draw the nine of diamonds behind the other cards, and show that, apparently, it is not among them. On turning the pack over it will be at the top. Taking the pack in the left hand, and, returning to your table, pick up (with the right hand) the knave of hearts, and without looking at it yourself, say, “Here it is, you see, the nine of diamonds.” Then, with a careless gesture, and making a half turn to the right or left to cover the movement, “change” the card by the third method (see page 30), taking care not to show the card after the change. The audience will naturally exclaim that the card you have just shown them is not the nine of diamonds. You affect great surprise, and ask, “Indeed, what card was it then?” They reply, “The knave of hearts.” “The knave of hearts; surely not!” you exclaim, again showing the card in your hand, which is now found to be the nine of diamonds. “Indeed,” you continue, “you could not possibly have seen the knave of hearts, for that gentleman in the front row has had it in his pocket all the evening.” The knave of hearts was, in truth, left after the change on the top of the pack. As you advance to the audience, you palm it, and are thereby enabled to find it without difficulty in the pocket of a spectator, or in any other place which you may choose to designate.

It will be observed that the mode here indicated of changing a wrong card into a right one differs from that described in the last trick. Either method will be equally available, but it will be well to practise both, as it is a great desideratum to be able to vary the dénouement of a trick.

The course of action above directed in the event of an unexpected card being thought of, may be made available as a means of escape from a break-down in many other cases. Thus, for instance, if you are using a biseauté pack, and a chosen card has been replaced without114 the pack having been previously reversed, or if you have from any other cause accidentally lost the means of discovering a card drawn, you may still bring the trick to an effective termination as follows:—Give the pack to some one to shuffle, and then, drawing a card haphazard, and placing it face downwards on the table, announce boldly that the card drawn is now upon the table. Ask the person to name his card, show apparently that it is not in the pack, and finish the trick in one or other of the modes above described.

A Card having been Drawn and Returned, and the Pack shuffled, to divide the Pack into several heaps on the Table, and to cause the Drawn Card to appear in such heap as the Company may Choose.—Invite a person to draw a card. When it is returned, make the pass to bring it to the top. Make a false shuffle, and leave it still at the top. If any of the audience requests to be allowed to shuffle, palm the card, and hand him the pack. When it is returned, again place the card on the top.

Taking the cards in the right hand, face downwards, drop them, in packets of four or five cards each, on the table, noting particularly where you place the last packet (on the top of which is the chosen card). Ask the audience in which of the heaps they would like the chosen card to appear, and when they have made their choice, pick up all the other packets and place them in the left hand, placing the packet on which is the chosen card at the top. Divide the chosen packet into two, and bid the audience again choose between these, placing the cards of the non-chosen packet below the pack in the left hand. If the packet still remaining will admit of it, divide it into two again, but endeavour so to arrange matters that the packet ultimately chosen shall consist of two cards only, concealing however from the audience the precise number of cards in the packet. When you have reached this stage of the trick, palm the drawn card, which we will suppose to have been the ace of diamonds, and picking up with the same hand the chosen packet, secretly place that card on the top. Place the three cards face downwards side by side, the ace of diamonds in the middle, and ask the audience which of the three they desire to become the card originally drawn. If they choose the middle card, the trick is already done, and after asking the person to name115 his card, and showing that neither of the two outside ones is the card in question, you turn up the ace of diamonds.

If the choice falls on either of the outside cards, gather together all three, without showing them (the ace still being in the middle) and ask some one to blow on them. Then deal them out again in apparently the same order as before, but really deal the second for the first, so as to bring that card into the place of the card indicated. Then, after showing the two other cards as above directed, finally turn up the ace of diamonds, and show that it is the card originally chosen.

To change a drawn Card into the Portraits of several of the Company in succession.—For the purpose of this trick you will require a forcing pack of similar pattern to your ordinary pack, but consisting throughout of a single card, say the seven of clubs. You must also have half-a-dozen or more sevens of clubs of the same pattern, on the faces of which you must either draw or paste small caricature portraits, after the manner of Twelfth Night characters; which should be of such a kind as to excite laughter without causing offence. You arrange your pack beforehand as follows:—On the top place a fancy portrait, say of a young lady; then a seven of clubs, then a fancy portrait of a gentleman, then a seven of clubs; another fancy portrait of a lady, another seven of clubs, and so on; so that the first eight or ten cards of the pack shall consist of alternate portraits and sevens of clubs (the top card of all being a lady’s portrait), and the rest of the pack of sevens of clubs only.

Secretly exchange the prepared pack for that which you have been using. Invite a young lady to draw, taking care to offer that part of the pack which consists of sevens of clubs only, so that the card she draws will, of necessity, be a seven of clubs. You then say, when she has looked at the card, “Will you now be kind enough to return that card to the pack, when I will paint your portrait on it.” You open the cards bookwise, about the middle of the pack, for her to return the card, and when she has done so, request her to breathe on it. As she does so, you “slip” (see page 35) the top card of the pack on to that which she has just replaced, and on examining that card (which she takes to be the one she has just seen) she is116 surprised to find that it is still a seven of clubs, but adorned with a more or less flattering likeness of herself. You continue, after the portrait has been handed round and replaced, “I would willingly give you this portrait to take home, but, unfortunately, being only a magical picture, the likeness fades very quickly. Will you oblige me by breathing on it once more, when you will find that the likeness will vanish, and the card will again be as it was at first.” On her doing so, you again slip the top card (which is now an ordinary seven), on to the portrait, and on again examining, the lady is compelled to admit that the card is again as she first drew it. You then offer to paint on the same card a gentleman’s likeness, and proceed as before, each time after taking a likeness changing it back again to an ordinary seven, which adds greatly to the effect of the trick.

You may, if you please, use allegorical instead of caricature portraits; e.g., for a young lady, a rose-bud; for a conceited young man, a poppy or dandelion, or a donkey’s head. It is hardly necessary to observe that nothing short of very close intimacy would excuse the use of any portrait of a disparaging or satirical nature.

A Card having been drawn and returned, and the Pack shuffled, to place on the Table six Rows of six Cards each, and to discover the chosen Card by a throw of the Dice.—The effect of this surprising trick is as follows:—You invite a person to draw a card, allowing him the utmost freedom of selection. You allow the drawer to replace his card in any part of the pack he pleases, and you thoroughly shuffle the cards, finally inviting him to “cut.” Then dealing out six rows of six cards each, face downwards on the table, you offer the drawer a dice-box and a pair of dice, and after he has thrown any number of times to satisfy himself that the dice are fair and unprepared, you invite him to throw each singly, the first to ascertain the row in which his card is, and the second to discover at what number it stands in the row. He throws, say, “six” first, and “three” afterwards, and on examination the card he drew proves to be the third card of the sixth row.

The whole mystery consists in the use of a forcing pack, all the cards of which are alike, and which must not consist of a less number than thirty-six cards. The dice are perfectly fair, but as each card117 of each row is the same, it is a matter of perfect indifference what numbers are thrown. It is advisable to gather up all the other cards, and to request the person to name his card, before allowing the one designated by the dice to be turned up. This will draw the attention of the company to the card on the table, and will give you the opportunity to re-exchange the cards you have used for an ordinary pack (from which, by the way, the card answering to the forced card should have been withdrawn). This pack you may carelessly leave on the table; so that in the event of suspicion attaching to the cards, it will be at once negatived by an examination of the pack.

The trick may be varied by using a teetotum, numbered from one to six, instead of the dice; or you may, if you prefer it, make the trick an illustration of second sight, by pretending to mesmerize some person in the company, and ordering him to write down beforehand, while under the supposed mesmeric influence, the row and number at which the drawn card shall be found. The mode of conducting the trick will be in either case the same.

A Card having been withdrawn and replaced, to call it from the Pack, and to make it come to you of its own accord.—This is a very simple trick, but, if neatly executed, will create a good deal of wonderment. It is performed as follows:—You must procure beforehand a long hair from a lady’s head. One end of this must be fastened by means of a bent pin, or in any other way you find most convenient, to the front of your waistcoat, which should be a dark one. At the other end of the hair fix a little round ball (about half the size of a pepper-corn) of bees’-wax. Press this little ball lightly against the lowest button of your waistcoat, to which it will adhere. You will thus always be able to find it at a moment’s notice, without groping or looking down for it, which would be likely to draw the eyes of the spectator in the same direction.

Request the audience to examine the cards, that they may be sure that there is no preparation about them, and as a further proof get two or three persons to shuffle them in succession. When the cards are returned to you, invite some person to draw one, and, while he is examining it, drop your right hand carelessly to your waistband, and118 remove the little ball of wax to the tip of your right thumb, to which it will adhere without interfering with the movements of the hand. When the card is returned, make the pass to bring it to the top of the pack, and press the little ball of wax upon the back of the card, as near the edge as possible. Then shuffle the cards. The shuffle may be a genuine one, but you must take care to keep the lower edge of the chosen card half an inch or so below the remaining cards, that the little ball of wax may not be disturbed. The chosen card will, after the shuffle, be in the middle of the pack, but attached to your waistcoat by the hair. Spread the cards face upwards on the table (by which means the wax, being on the back of the card, will be out of sight), taking care not to detach the hair. You then address your audience to the following or some similar effect:—“In the old style of conjuring, I should merely have picked out your card, and handed it to you; and there was a time when people would have thought that a very good trick, but nowadays we should regard that as a very lame conclusion. I can assure you that I have not the smallest idea what your card was. How do you suppose I intend to find out?” Various guesses are hazarded, but you shake your head at each. “No,” you continue, “my process is much simpler than any you have suggested. I shall merely order the card you chose to walk out of the pack, and come to me.” Pronounce any magic formula you like, at the same time beckoning to the cards, and gradually withdrawing yourself away from the table, when the card must needs follow you. As it reaches the edge of the table, receive it in the left hand, and then take it in the right, drawing off with the first finger and thumb of the left hand the wax at the back. Ask the person who drew whether that was his card, and again hand the card and the rest of the pack for examination. This little trick, though simple, will require a good deal of practice to enable you to perform it neatly, but the effect produced by it will well repay your trouble.

It may be well to mention, once for all, as bees’-wax is an article of frequent use in magical operations, that if, as sometimes happens, the pure wax is found too hard, or not sufficiently adhesive, the addition of a small quantity (say an eighth part) of Venice turpentine, mixed with it in a melted condition, will make it all that can be desired.

119

The Whist Trick.H Improved Method. To deal yourself all the Trumps, the three other Players holding the usual mixed Hands.—Having decided which suit (suppose diamonds) is to be the trump suit, arrange the pack in such manner that every fourth card shall be of that suit, the intervening cards being taken haphazard. When about to perform the trick, secretly exchange the pack you have hitherto been using for the prepared pack. Make the bridge (see page 39), and then a false shuffle by the third method (see page 24). Invite some one to cut, and make the pass at the bridge, thus restoring the cards to their original condition. Deal in the usual manner, when you will be found to hold all the trumps, the remaining suits being distributed in the ordinary way among the other three players.

Where in this or any other trick it is found necessary to change one pack for another, the following will be found the neatest way of effecting that object. Have the prepared pack in the pochette on the left side. Hold the ordinary pack in the right hand, and in moving from the audience to your table, drop the left hand to the pochette, seize the prepared pack, bring the hands together, and make the pass with the two packs, when they will have changed hands. Drop the left hand, and get rid of the ordinary pack into the profonde, the prepared pack being left in the right hand. Any little clumsiness in making the pass is of small consequence, the hands being covered by the body. If, however, you find it impossible to make the pass with so large a bulk of cards, the prepared pack may be placed under the waistband, held in position by a strap of half-inch-wide elastic, stitched to the inside of the vest; the right hand in this case, at the moment of the turn to the table, transferring the ordinary pack to the left, and immediately drawing down the prepared pack, while the left hand, as in the former case, drops the ordinary pack into the profonde.

120

We propose to describe in this chapter such card tricks as require the aid of some mechanical appliance or apparatus, but are still appropriate for a drawing-room performance. There are some few tricks performed with cards (such as the Fairy Star, the Demon’s Head, and the like) which necessitate the use of a mechanical table, or other apparatus of an elaborate and costly character. These will not be here noticed, but will be given, at the close of the work, in the portion devoted to Stage Tricks.

We may here anticipate a not unlikely question on the part of the student—viz., “How can I best obtain the necessary apparatus?” In some instances, an amateur with a mechanical turn may be able to manufacture his appliances for himself; and where this is the case, we would by no means discourage his doing so, as he will thereby derive a double amusement from his study of the magic art. But where the student has not the ability or inclination to do this, we should strongly advise him not to attempt to have his apparatus made to order by persons unaccustomed to this class of work, but to go direct to one or other of the regular depôts. Magical apparatus requires so much precision in its details, and so much attention to apparent trifles, that the first attempt of any workman, however skilful, is almost sure to be a failure; and by the time the defects are rectified, the purchaser will find that he has paid more for a clumsy makeshift than he would have done for a thoroughly good article had he gone to the right quarter. Experience will quickly prove that inferior apparatus is dear at any price.

121 Peck & Snyder, 124 Nassau Street, New York City, are the largest manufacturers, importers, and dealers in sports, pastimes, and trick materials. They will forward illustrated catalogues on application, giving details of an infinite variety of Optical, Chemical, Mechanical, Magnetical, and Magical Experiments, and ingenious deceptions. Supplementary sheets are issued from time to time, giving descriptions of new novelties. One peculiarity of their business is that every purchaser is taught, by the very explicit instructions that accompany each article and by correspondence, to perform whatever Tricks he may buy, so that he may exhibit them with ease and without fear of detection, and no trouble is spared in order to make him perfect in what he purchases. Prices are generally low: where a seemingly high price occurs the professor or skilled amateur will readily realize that it is occasioned by the elaborateness of the mechanism of the particular apparatus desired, and the cost that such precision in manipulative manufacture involves. The purchaser—we speak from personal experience—can always depend on receiving uniform courtesy, good value, and sound practical instruction.

The novice must be warned against imagining that, when he has got into the region of apparatus, the necessity for personal address and dexterity will be diminished. On the contrary, there is hardly a trick among those we are about to describe which does not demand more or less practical knowledge of sleight-of-hand. We shall assume, in the following pages, that the reader has carefully followed and studied the directions already given, in which case he will find little difficulty in this portion of the work.

The Magic Sword. A Card being drawn and replaced, and the Pack flung in the Air, to catch the chosen Card on the point of the Sword.—We have already described a trick somewhat similar in effect, in which, the pack being flung in the air, the chosen card is caught in the hand of the performer. The trick in this form makes a very good prelude to the still more surprising one which we are about to describe.

It will be remembered, that, in the trick above mentioned, an ordinary pack is used, and the spectator is allowed to draw whatever card he pleases. The card, when returned, is brought to the top by122 the pass, and palmed: and, though supposed to be caught amid the falling shower, in reality never leaves the hand of the performer. The audience may possibly have a suspicion of this, and you may hear a faint murmur to the effect that “he had the card in his hand!” and so on. When this occurs, it serves as a very natural introduction to the trick with the sword. You say, “Ah! you fancy I had the card in my hand? I will repeat the trick, in order to show you that you are mistaken. Will some one be kind enough to draw another card? Thank you. Don’t return the card to me, but put it back in the pack yourself. Now be kind enough to shuffle thoroughly. You cannot say I have the card in my hand this time, at all events. Excuse me one instant, while I fetch my magic sword.” You go behind your screen, and return, holding in your hand a drawn sword. You place yourself in fencing attitude, and, addressing the person who holds the cards, say, “I am going to give you the words, one! two! three! At the word ‘three!’ will you please throw the cards in the air, so as to fall lightly on the point of my sword, when I will pick out with the point the identical card you drew. Spread the cards a little in a fan shape before you throw them, so that I may get a fair123 sight of them. Are you ready? One, two, THREE!” At the word three, the cards are thrown, the performer makes a lunge among them, and a card is instantly seen fluttering on the point of the sword, and, on examination, is found to be the very card which was drawn.

The secret of this surprising feat lies mainly in the sword. This is an ordinary small-sword (see Fig. 41), with a three-sided rapier blade, but altered in a particular way for the purpose of the trick. The tip of the blade (see Fig. 42) is cut off at about a third of an inch distance from the extreme point, and across the concave side of this tip, and also across the corresponding part of the shortened blade, are soldered minute cross-pieces of brass, each bent outwards in the middle, so as to form, with the concavity of the blade, a kind of eye just large enough to admit freely a piece of thin black elastic cord, the other end of which is passed through a similar small hole in the guard of the hilt. The elastic thus lies along the hollow side of the blade, passing through the two “eyes” already mentioned, and is kept in position by a knot at each end. The tension of the elastic holds the moveable tip in its natural position at the end of the blade. It may, however, be drawn away from it in any direction as far as the elastic will permit, but, when released, immediately flies back to its old position. On the same side of the hilt—viz., the side farthest away from the palm of the hand when grasping the sword (see Fig. 43)—is fixed a flat, oblong piece of tin, painted black, with its longer edges folded over about half an inch on each side, in such manner as to form a receptacle for a card.

Unless you are tolerably expert in forcing, you will also require some forcing cards of the same pattern as the ordinary pack you have in use. These, however, need not be a full pack, a dozen cards alike being amply sufficient for your purpose. You commence your preparations by taking one of the cards of the forcing pack, cut a small slit in its centre with a penknife, and thrust completely through it the moveable tip of the sword (taking care not to enlarge the hole more than absolutely necessary), and place the sword thus prepared out of sight of the audience, but so as to be easily got at when you want it. Have your forcing cards in your pocket, or somewhere where you can lay your hand on them without attracting observation, and your ordinary pack on the table. You may begin by remarking, “Let124 me ask you to take particular notice that I perform this trick with whatever card you choose, not influencing your choice in any way. To show you that I don’t compel you to take any particular card, I will just take a handful of cards from the top of the pack” (as you say this you place your forcing cards, which you have previously palmed, for an instant on the top of the ordinary pack, immediately taking them off again, as if they had formed part of it, and were the handful of cards you referred to, and offer them to some one to draw). “Take whichever you please—first card, last card, middle card, it is precisely the same to me. Observe that I don’t attempt to press upon you any particular card, but hold the cards perfectly motionless while you make your choice.” As soon as a card is drawn, without waiting for it to be replaced, return to your table, holding the remaining forcing cards in your left hand. Pick up the pack with your right hand. Place it on the cards in your left hand, at the same moment making the pass to bring these cards to the top. Palm these (with the right hand), and, dropping them into your profonde, or elsewhere out of sight, advance with the pack to the person who drew, and request him to replace his card, and shuffle thoroughly. While he does so, you retire to fetch your sword, as before mentioned. Before returning to the audience, you prepare it as follows:—Taking it in your right hand in the ordinary manner, you draw down with the other hand the pierced card, and slide the card endways into the receptacle on the hilt. The elastic, which is now stretched to double its ordinary length, will pull at the card pretty tightly; but you retain it in position by pressing on the face of the card with the second and third fingers of the hand that grasps the hilt. Having done this, you return to the audience, taking care so to stand that the back of the hand that holds the sword shall be towards them. When the cards are flung in the air, as already described, you make a lunge among them, and at the same moment relax the pressure of the fingers on the pierced card. The elastic, being thus released, flies rapidly back to its original position, and carries the moveable tip, and with it the card, to the end of the blade, by which the card appears to be transfixed, as in Fig. 41. The movement of the sword in the lunge, coupled with that of the falling cards, completely covers the rapid flight of the pierced card from hilt to point. To get the card off the sword,125 pull it down the blade, and tear it roughly off. When you have taken off the card, drop the point of the sword, and hand the card at once to the drawer for examination. This serves to divert attention, not only from the sword itself, but also from the cards scattered on the ground, among which the one actually drawn still remains.

This trick is sometimes performed with three cards instead of one. The working of the trick is the same, save that you use a forcing pack consisting of three cards repeated, and that in preparing the sword the two first cards which are threaded on the elastic are perforated with holes of such a size, as to allow them, when released, to slide partially down the blade, the first nearly to the hilt, and the second about half way.

The Rising Cards (La Houlette).—Several Cards having been drawn, returned, and Shuffled, to make them rise spontaneously from the Pack.—This is one of the best of card tricks. The performer advances, pack in hand, to the company. He invites three persons each to draw a card. The cards having been drawn, they are replaced in different parts of the pack, which is thoroughly shuffled. The performer then places the pack in a tin box or case, just large enough to hold it in an upright position. This case is generally in the form of a lyre, open in front and at the top, and supported on a shaft or pillar, twelve or fifteen inches high (see Fig. 44). He then asks each person in succession to call for his card, which is forthwith seen to rise slowly from the pack, without any visible assistance, the performer standing quite apart.

The ingenuity of different professors has added little embellishments of a humorous character. For instance, the performer may remark, addressing one of the persons who drew, “I will not even ask the name of your card, sir. You have only to say, ‘I command the card I drew to appear,’ and you will be obeyed.” He does so, but no effect is produced; the cards remain obstinately motionless. The command is repeated, but with the same result. The performer feigns embarrassment, and says, “I must really apologize for the disobedience of the cards. I cannot tell how it is; they never behaved in this way before. I am afraid I must ask you to name the card, after all, when I will try my own authority.” The126 card proves to have been a queen, say the queen of spades. “Oh,” the performer says, “that quite explains it. Queens are not accustomed to be ordered about in such a peremptory manner. If we try again in becoming language, I dare say we shall be more successful. Let us try the experiment. Say, ‘Will your Majesty oblige the company by appearing?’” Thus propitiated, the card rises instantly. Occasionally a knave is one of the cards drawn, and, when summoned, scandalizes the performer by appearing feet foremost. He is appropriately rebuked, and thrust down again by the professor, upon which he immediately reappears in a proper attitude. Sometimes a card, after coming up half way, begins to retire again, but at the command of the performer starts afresh, and rises completely out of the pack.

These apparently surprising effects are produced by very simple means. In the first place, the cards which rise from the pack are not those actually drawn, but duplicates of them, arranged beforehand. The performer ensures the corresponding cards being drawn by using a forcing pack, made up of repetitions of the three cards in question, which we will suppose to be the queen of spades, the ten of hearts, and the seven of diamonds, with some other single card at the bottom. The tin case, in the original form of the trick, has two compartments—the one to the front being large enough to hold a complete pack, but the hinder one adapted to contain six or eight cards only. In this hinder compartment are placed six cards, three of them being those which are intended to rise, and the other three indifferent cards. A black silk thread is fastened to the upper edge of the partition between the two compartments, and is thence brought under the foremost card (which is, say, the queen of spades), over the next (an indifferent card), under the third (the ten of hearts), over the fourth (an indifferent card), under the fifth (the seven of diamonds), over the sixth (an indifferent card), finally passing out through a minute hole at the bottom of the hinder compartment. If the thread be pulled, the three cards named will rise in succession, beginning with the hindmost—viz., the seven of diamonds. The three indifferent cards are put in as partitions, or fulcrums, for the thread to run over. If these partitions were omitted, the three chosen cards would rise all together.

The thread may be drawn in various ways. Sometimes this is127 done by the performer himself, standing behind or beside the table. Another plan is to have the thread attached to a small cylindrical weight within the pillar, which is made hollow, and filled with sand. The weight rests on the sand until the operator desires the cards to rise, when, by moving a trigger at the foot of the pillar, he opens a valve, which allows the sand to trickle slowly down into a cavity at the base; and the weight, being thus deprived of its support, gradually sinks down, and pulls the thread. (The pillar in this case is made about two feet high, as the weight must necessarily travel six times the length of a card.) Others, again, draw the thread by means of a clockwork arrangement in the table, or in the pillar itself, answering the same purpose as the sand and weights. The arrangement which we ourselves prefer, where practicable, is to have the thread drawn by an assistant, who may either be placed behind a screen, or may even stand in full view of the audience, so long as he is at some little distance from the table. The silk thread is quite invisible, if only you have a tolerably dark background. The only portion as to which you need feel any anxiety is that immediately connected with the cards. To conceal this it is well, if you use a special table, to have a small hole bored in the top, through which the thread may pass. The card-stand being placed immediately in front of the hole, the thread will pass perpendicularly downward for the first portion of its length, and will thus be concealed behind the pillar. In default of a hole, a ring of bent wire attached to the table will answer the128 same purpose. The great advantage of having the thread pulled by a living person instead of a mechanical power is, that you can take your own time in the performance of the trick; whereas, if you use a weight or clockwork, there is always a danger of a card beginning to rise before you have called for it, or possibly not rising at all—either contingency being rather embarrassing.

In the latest and best form of the trick, the second compartment of the case is dispensed with, and the apparatus may be handed round for examination both before and after it is used. In this case three cards are forced and returned as already mentioned; but the performer, as he reaches his table, adroitly exchanges the forcing pack for another already prepared, and placed on the servante if a regular conjuring-table is used, or, if not, concealed behind some object on the table. This pack is prepared as follows:—The last six cards are arranged with the thread travelling in and out between them, just as the six cards in the hinder compartment were in the older form of the trick. A knot is made in the silk thread, which is hitched into a notch an eighth of an inch deep, made in the lower edge of the sixth card. The knot prevents the thread from slipping, but does not interfere with its being instantaneously detached when, the trick being over, you hand the whole apparatus, cards and all, to be examined.

Some performers use no stand or pillar for the card-case, but fix it by a short plug projecting for that purpose on its under side, in a decanter of water on the table. Some, again, in order to exclude all apparent possibility of mechanical aid, fasten it on the top of a common broomstick, fixed in the floor of the stage, and broken over the performer’s knee at the conclusion of the trick. To our own taste, the trick is best performed without any special card-case whatever, the pack being placed in an ordinary glass goblet with upright sides, first handed round to the audience for inspection. It is here absolutely self-evident that the glass can give no mechanical assistance; and as the audience know nothing of the exchange of the packs, the immediate rising of the cards at the word of command appears little short of miraculous.

It only remains to explain the modus operandi of the little variations before alluded to. The offended dignity of the queen, declining129 to appear when summoned in too cavalier a manner, is accounted for by the fact that the performer or his assistant refrains from pulling the thread until the offender has adopted a more respectful tone. The phenomenon of the knave first appearing feet foremost, and then invisibly turning himself right end uppermost, is produced by the use of two knaves, the first (i.e., hindmost) being placed upside down, and the second (with an indifferent card between) in its proper position. When the performer pushes the first knave down again, with a request that it will rise in a more becoming attitude, he thrusts it down, not as he appears to do, in the same place which it originally occupied, but among the loose cards forming the front portion of the pack, thus getting it out of the way, and allowing the thread to act on the second knave. It is hardly necessary to observe that, for producing this particular effect, the cards must be of the old-fashioned single-headed pattern. The alternate ascent and descent of a given card is produced by using a card at whose lower edge, between the back and front of the card, is inserted a slip of lead-foil. The card, so weighted, sinks down of itself as soon as the pull of the thread is relaxed, and may be thus made to rise and fall alternately, as often as the operator chooses, and finally, by a quick, sharp jerk, to jump right out of the pack.

Another very telling incident is the transformation of an eight to a seven, or a seven to a six. A seven of spades, say, has been one of the drawn cards, but when it is summoned an eight of spades appears. The performer apologizes for the mistake, and, giving the card a touch of his wand, shows it instantly transformed to a seven. This is effected by sticking (with a little bees’-wax) a loose spade pip in the appropriate position on an ordinary seven of spades. The performer takes out the supposed eight with one hand, and thence transfers it to the other. In so doing he draws off, with the hand which first held the card, the loose pip, and, holding the card face downwards, touches it with the wand, and shows that it has apparently changed to the card drawn.

There is a mode of performing the trick of the rising cards entirely without apparatus, and without the necessity of forcing particular cards. The performer in this case invites a person to draw a card, and when it is returned makes the pass to bring it to the top of130 the pack. He then makes a false shuffle, leaving it on the top, and offers the pack to a second person to draw. When he has done so, and before he replaces the card, the performer makes the pass to bring the card first drawn to the middle, so that the second card is placed upon it, and then again makes the pass to bring both together to the top. The process may be repeated with a third card. The three cards are thus left at the top of the pack, that last drawn being the outermost. The performer now asks each person, beginning with the last who drew, to name his card, and, holding the pack upright in his right hand, the thumb on one side, and the third and fourth fingers on the other, with the face of the pack to the audience (see Fig. 45), he causes the cards to rise one by one by pushing them up from the back by an alternate movement of the first and second fingers (which should previously be slightly moistened). If the face of the cards is held fairly to the spectators, it will be impossible for them to discover that the cards do not rise from the middle of the pack.

We have been more prolix than we could have desired in the description of this trick, but minute details are the very soul of conjuring. The experience of Horace, “Brevis esse laboro, obscurus fio,” applies with peculiar force to the magic art; and if we occasionally irritate the reader of quick apprehension by too great minuteness, he must remember that we have, as far as we can, to anticipate every possible question, and that a single point left unexplained may render useless an otherwise careful description.

The Jumping Cards.—Two or three Cards having been drawn, returned, and shuffled to make them jump out of the Pack.—This trick is somewhat similar in working to that of the rising cards as performed in the hand, which we have just described. The course of the two tricks is precisely the same up to the point when, the two or three cards having been drawn and returned, you131 have got them all to the top of the pack. Here, however, the resemblance ceases. In the present case you drop the whole pack into an open-mouthed box, made for that purpose, and announce that, although the chosen cards have been replaced in different parts of the pack, and the whole have since been thoroughly shuffled, you have only to blow upon them in order to separate them visibly from the rest of the pack. You blow upon the box accordingly, when the chosen cards instantly fly out of the pack, rising to a height of three or four feet, and fall on the table.

The secret of the trick, apart from the sleight-of-hand necessary to bring the chosen cards together at the top of the pack, lies in the box. It is in general appearance something like a miniature pedestal for a statue, but hollow, and open at the top, the cavity being rather more than large enough to hold a pack of cards. (See Fig. 46.) It is divided longitudinally into two compartments, the foremost being large enough to hold a whole pack, the hindmost to hold only three or four cards, the partition between the two coming about half way up the box. The bottom of the larger compartment is level with the top of the plinth, but the smaller is open to the whole depth, save that across it is a steel spring about half an inch in width. Fig. 47 represents a section of the apparatus, A being the upper part, of which a is the larger or front compartment, and b the smaller compartment at the back. B is the plinth. A is so constructed as to slide forwards on, or rather in, B, to the132 extent of about an eighth of an inch, but is prevented doing so, in the normal condition of the apparatus, by the spring c, which is screwed to the bottom of A, its free end pressing against the side of the plinth. If, however, the spring be pressed down from above, so as to be below the level of the shoulder d (for which purpose a thin slip of wood is supplied with the apparatus), and A be at the same time pushed towards d, it will slide forward to the position indicated in Fig. 48, and the spring c will be held down beneath the shoulder d. This is the condition in which the apparatus is first exhibited to the audience. After turning it over, to show that there are no cards already concealed in it, the performer places in it the pack, first, however, slipping his little finger between the chosen cards (which are on the top) and the rest of the pack, so as to enable him to drop the chosen cards into the smaller compartment at the back, where they rest upon the bent spring. (See Fig. 48.) Standing behind the box, and placing his hands around the plinth, as if to hold it steady, the fingers of each hand being in front, and the thumb behind, he blows smartly upon the box, at the same moment pushing A forward with the thumbs to the position which it occupies in Fig. 47. The spring c, being drawn back with it beyond the shoulder d, is released, and instantly flies up to its old position, shooting out of the box the cards resting upon it.

This trick is sometimes, like that of the rising cards, worked with a forcing pack, duplicates of the forced cards being placed beforehand in the hinder compartment. This method, however, is very inferior to that above described, and would hardly be adopted by any performer who had acquired a competent mastery of sleight-of-hand.

To make a Card stand upright by itself on the Table.—This is a little trick of hardly sufficient importance to be performed by itself; but as an incident introduced in the course of some more pretentious illusion, produces a very good effect. A great deal of the sparkle of a conjuring entertainment depends upon the performer’s readiness in what may be called “by-play,” consisting of a number of minor tricks not supposed to form part of the settled programme, but merely introduced incidentally, and used, as it were, as a garnish to133 the more important feats. Thus, when a coin, an egg, or other small article, is required for the purpose of a trick, the performer may fetch it openly from behind the scenes, or have it handed to him by his servant; but this is a commonplace proceeding. The higher class of performers prefer in such cases to produce the article from the hair, whiskers, or pocket of one of the audience; and in like manner, when the article has served its purpose, to make it vanish by some magical process, rather than by the prosaic methods of every-day life. These little incidents serve to keep the audience on the qui vive, and they further assist materially in keeping up the continuity of an entertainment. In a thoroughly good performance the audience should have no time to think, but should be led direct from one surprise to the contemplation of another.

The trick we are about to describe is of the class above alluded to. In the course of one or other of your card tricks, you have or make occasion to ask some person to go and place a given card on the table, or to examine a card already placed there. He does so, and is about to return to his place; but you check him. “No, sir, that won’t do. I want everybody to see what card it is. Will you be good enough to stand it up on end, with its face to the company, so that everybody can see it.” He looks foolish, and finally says that he can’t do it. “Not do it?” you reply. “My dear sir, it’s the simplest thing in the world. Allow me!” and taking the card from him, you place it upright on the table, and leave it standing without any visible support. Taking it up again, you hand it round, to show that there is no preparation about it, and on receiving it back, again stand it upright, but with the other end upwards; or, if challenged, allow the audience themselves to choose a card, which you cause to stand alone with equal facility.

The secret lies in the use of a very small and simple piece of apparatus, being, in fact, merely a strip of tin or sheet brass, an inch and a half in length, and five-eighths of an inch in width, bent at a shade less than a right angle—say 85°; its shorter arm being one-third of its length. On the outer surface of the long arm is spread a thin layer of bees’-wax (made more adhesive by the addition of a small portion of Venice turpentine), and to the inner surface of the shorter arm is soldered a small piece of lead, about an eighth of an inch134 thick. When you desire to perform the trick, you have this little appliance concealed in your right hand, the longer arm between the first and second fingers, and the shorter arm pointing towards the little finger. Picking up the card with the left hand, you transfer it to the right, taking hold of it in such manner that the fingers shall be behind and the thumb in front of the card. As you place the card on the table (which, by the way, must be covered with a cloth), you press against it (see Fig. 49) the waxed side of the slip of tin, which will slightly adhere to it, and thus form a prop or foot, the little lump of lead acting as a counterpoise to the weight of the card. You pick it up with the same hand, and as you transfer it to the other, you will find no difficulty in removing and secreting between the fingers the little prop.

If the wax is properly amalgamated, it should leave no mark on the card.

Changing Card-boxes, and Tricks performed with them.—The changing card-box in its simplest form is a small flat box in walnut or mahogany. (See Fig. 50.) Its outside measurement is four inches by three, and not quite an inch deep. Inside it is just large enough to admit an ordinary-sized playing card. The upper and lower portions of the box, which are connected by hinges, are exactly alike in depth, and each is polished externally, so that the box, which, when open, lies flat like a book, may be closed either way up; and either portion will, according as it is placed, become box or lid135 in turn. Thus, by using a card which, unknown to the audience, has two faces—e.g., is an ace of hearts on the one side, and an ace of spades on the other—and placing such card in one side of the open box, you have only to close the box with that side uppermost, or to turn over the box as you place it on the table, to transform the card just shown into a different one. There is nothing in the appearance of the box itself to indicate that it has been turned, so to speak, wrong side up, and a very little practice will enable you to turn it over, as you place it on the table, without attracting observation.

There is a further appliance in connection with the box in question, which, however, may be used with or without it, as may best suit the trick in hand. This is a loose slab, a, of the same wood of which the interior of the box is made, of the thickness of cardboard, and of such a size as to fit closely, though not tightly, in either half of the box. When so placed, it has the appearance of the inside top or bottom of the box. When the box is closed in such manner that the part in which this slab is placed is uppermost, the slab falls into the lower portion, thus forming a false bottom on whichever side happens to be undermost. If a card (say the ace of hearts) be secretly placed in either side of the box, and this slab placed on it, the box will appear empty. If now another card (say the knave of spades) be openly placed in either side, and the box closed in such manner that the portion containing the false bottom is undermost, no change will take place; but if, either in closing the box or subsequently, it is so placed that the side containing the false bottom becomes uppermost, the false bottom will at once drop into the opposite division, and on re-opening the box the ace of hearts will be revealed, and the knave of spades will in its turn be concealed. The effect to the spectators is as if the knave of spades had changed into the ace of hearts.

136 These card-boxes are frequently worked in pairs, as follows:—The boxes are prepared by placing a different card secretly in each, say an ace of hearts in the one, and a knave of spades in the other. The performer brings them forward to the company, each hanging wide open, and held by one corner only, with the first and second finger inside, and the thumb outside the box, taking care, however, to hold each by the side containing the false bottom, which is thus kept in position by the pressure of the fingers. So held, the boxes appear absolutely empty. Having drawn attention to the entire absence of any preparation, the performer lays them open upon the table, and, taking up a pack of cards, requests two of the company each to draw one. They, of course, imagine that they are making a free choice, but in reality he forces (either by sleight-of-hand, or by means of a forcing pack) the ace of hearts and the knave of spades. Again bringing forward the two boxes, he requests each person to place his card in one of them, taking care so to arrange that the person who has drawn the ace of hearts shall place it in the box already containing the concealed knave of spades, and vice versâ. Closing each box with the portion containing the false bottom uppermost, he now announces that at his command the cards will change places, which, on re-opening the boxes, they appear to have done. By again turning over the boxes, they may be made to return to their original quarters.

Numerous other good tricks may be performed with the aid of these boxes, which should form part of the collection of every conjuror. By placing a given card beforehand beneath the false bottom and forcing a like card, you may allow the card drawn to be torn into twenty pieces, and yet, by placing the fragments in the box, or firing them at it from a pistol, restore the card instantly, as at first. In like manner, you may cause a given card to be found in the apparently empty box, or may cause a card openly placed therein to vanish altogether. The changing-box is also sometimes employed by those who are not proficient in sleight-of-hand, as a substitute for forcing, in the following manner:—The performer requests some person to draw a card, and, without looking at it, to place it face downwards in the box for supposed safe keeping. The box is presently opened by the same or some other person, who is requested to note what the137 card is. He does so, believing the card to be that which was drawn, and which he had just before seen placed in the box; whereas the card he now examines is, in reality, one concealed beforehand in the box by the performer to suit his purpose, the card actually drawn being now hidden by the false bottom.

The Mechanical Card-box.—This also is a piece of apparatus for changing a chosen card to another. It is somewhat the same in principle as the card-boxes last described, but differs from them a good deal in detail. It is an oblong wooden box, in external measurement about four and a half inches by three and a half, and four inches high. Internally, the measurement is so arranged that, putting the lid out of the question, the front of the box is of exactly equal area with the bottom. Against this front (see Fig. 51) lies a slab of tin or zinc, working on a cloth hinge along its lower edge, thus rendering it capable of either lying flat on the bottom of the box (which it exactly covers), or of being folded up against the front, the upper edge of which projects slightly inwards, so as to aid in concealing it. This flap, like the whole inside of the box, is painted black. On one point of its upper surface is a little stud, which, when the flap is raised, fits into a hole prepared for it in the lock, across which passes the hinder end or tail of the bolt. The box is prepared for use as follows:—The key is turned, as if locking the box (which, however, is held open), thus pushing forward the bolt of the lock, and the flap is lifted up against the front, the stud passing into the little hole before-mentioned. The key is then again turned as if unlocking the box, when the tail of the bolt catches the stud, and secures the flap. The box will in this condition bear any amount of examination, but138 as soon as it is closed, and the key turned to lock it, the tail of the bolt, being again shot forward, no longer retains the stud, and the flap falls. When in actual use, a card (say the ace of spades) is placed upon the flap, and folded up with it against the front of the box. The card to be changed (suppose the nine of diamonds) is in due course openly placed in the box, which is then handed to some one with a request that he will himself lock it, that there may be no possibility of deception. The trick proceeds, and when the box is again opened, the card placed therein is found transformed to the ace of spades.

Some card-boxes are so made, that the flap, instead of falling actually upon the bottom of the box, falls parallel to it, but at a distance of an inch or so above it, leaving a hollow space beneath capable of containing a lady’s handkerchief, a canary, or any other small article, which, being covered by the falling flap, is thus apparently changed into a card. The box in this case is somewhat taller in proportion than that above described.

The “Card and Bird” Box.—This is, in form and general appearance, similar to that form of the card-box last above described (that which has an enclosed space beneath the flap), but its working is precisely the converse—i.e., the normal condition of the flap in this case is to lie folded against the back of the box, against which it is pressed by the action of a spring. It may, however, be folded down so as to lie parallel with the bottom, a little catch projecting from the inner surface of the front, holding it in that position. (See Fig. 52.) The lock is in this case a mere sham, having neither key nor keyhole, but a little stud projecting from the lower edge of the lid, and representing the “staple” of the lock, presses, when the box is closed, upon an upright pin passing through the thickness of the wood up the front of the box, and thereby withdraws the catch, when the flap flies up, concealing the card which has just been placed upon it, and revealing the bird or other object which had previously been concealed beneath it.

The same principle is sometimes applied to the “card-box,” the flap when “set” lying flat on the bottom of the box, leaving no hollow space below.

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The Card Tripod.—This is a miniature table, standing five or six inches high. It has a round top of about the same diameter, supported on a tripod foot. It is provided with an ornamental cover of tin or pasteboard, shaped somewhat like the top of a coffee-pot, just large enough to fit neatly over the top of the table, and about an inch deep. The table has a false top, made of tin, but japanned to match the real top, and of such a size as to fit tightly within the cover. If the false top be laid upon the true one, and the cover placed over both, the cover will, on being again removed, carry with it the false top, and leave exposed the real one, which, however, the audience take to be that which they have already seen.

The reader will already have perceived that the card-tripod is, in effect, very similar to the changing card-box. Like the card-box, it may be used either singly or in pairs, and the tricks performed by its aid will be nearly the same. Thus two forced cards drawn by the audience may be made to change places from one tripod to another, a card drawn and destroyed may be reproduced from its own ashes, or a card drawn and placed on the tripod may be made to vanish altogether, the drawn card being in each case laid upon the false top, that to which it is to be apparently transformed having been previously placed under the false and upon the true top. A card once changed, however, cannot be restored to its original condition, and the card-tripod is, therefore, in this respect inferior to the card-box.

The “Torn Card.”—This is a very effective trick. The performer requests some one of the company to draw a card, and, having done so, to tear it up into any number of fragments. He does so, and hands them to the operator, who returns one corner to him, with a request that he will take particular care of it. The performer announces that out of the torn fragments he will restore the card anew, for which purpose he first burns the fragments on a plate or otherwise, carefully preserving the ashes. He then brings forward one of the changing card-boxes already described, and, after, showing that it is empty, closes it, and places it on the table in view of all present. He next takes the ashes of the torn card, and, loading a pistol with them, fires at the box. (If he has not a pistol at hand, placing the ashes on the box, rubbing them on the lid, or any other act which gets rid of140 them will answer the same purpose.) When the box is opened, the card is found whole as at first, with the exception of one corner, being (ostensibly) that which was retained by the drawer. Taking this piece in his right hand, and holding the card by one corner between the thumb and first finger of his left hand (see Fig. 53), the performer makes a motion as if throwing the small piece towards it. The small piece instantly vanishes from his hand, and at the same moment the card is seen to be completely restored, the torn corner being in its proper place. Some performers, instead of giving the drawer the torn corner to take charge of in the first instance, burn ostensibly the whole of the pieces, and pretend surprise on finding that there is a corner missing when the card is restored. Directly afterwards, however, they pick up the missing fragment from the floor, where they have just previously dropped it, and the trick proceeds as already described.

The reader will, no doubt, already have conjectured that the card drawn is a forced one, and that the supposed restored card was concealed beforehand under the false bottom of the card-box. This pretended restored card is, in reality, an ingenious though simple piece of apparatus, constructed as follows:—A piece of tin is cut to the exact size and shape of a card; out of this, at one of the corners, is cut an oblong piece, measuring about one inch by five-eighths. This piece is attached by a spring hinge, a a, on one side of it, to the larger piece of tin, in such manner that it can be folded back (see Fig. 54) flat against it; the action of the spring, however, bringing it back again, when released, to its original position. To this piece of141 tin is soldered lengthways a narrow tail-piece, of such a length as to extend nearly to the opposite end of the larger piece of tin. This tail-piece forms a kind of handle wherewith to bend back the smaller piece of tin on its hinge, and at the same time acts as a check to prevent the action of the spring pressing the smaller piece beyond the plane of the larger one. A playing card is split in two in order to reduce its thickness, and the face of the card thus reduced is pasted on the front of the larger piece of tin. Previously, however, a piece, somewhat smaller than the little moveable flap, is torn out of one corner, and pasted on the flap in such a manner that, when the latter is released, the torn piece will occupy its proper position with respect to the remainder of the card, which will thus appear complete. When, however, the moveable flap is folded back, and so held by the pressure of the forefinger upon the tail-piece, the torn portion of the card will be folded back with it, as in Fig. 54. When the mechanical card is placed in the box, it should be thus folded back, and kept in position by a little bit of thin wire, half an inch long, and bent into a miniature staple or clip, which, slipped over the end of the tail-piece and the adjoining edge of tin, will effectually hold the flap back, and yet may be got rid of in an instant, when the forefinger is ready to take its place. You must take care so to place the card in the box as to be face uppermost when the box is opened, as the audience must not, of course, see the back. When you desire to make the card complete, you have only to slip aside the forefinger, and thus release the moveable flap.

There are torn cards now made entirely of pasteboard, dispensing with the tin plate at the back. This is a decided improvement.

As to the disappearance of the loose corner from your hand, you will find little difficulty when you have learnt the art of coin-palming, to be hereafter explained. Assuming that you have at present no knowledge on this subject, you may proceed as follows:—Take the bit of card between the forefinger and thumb of your right hand, and as you make the motion of throwing it towards the mechanical card, push it with the ball of the thumb between the first or second joints of the first and middle fingers. This releases the thumb, and the inside of your hand being turned away from your audience, you run little risk of discovery, particularly as the same piece, apparently, is now seen in its proper place as part of the restored card.

142 We must not omit to mention that there is a mode of performing the “torn card” trick in which the use of the mechanical card is dispensed with. In this case the performer secretly takes an ordinary card, say the knave of spades, and tears off one corner, which he carefully preserves. The card thus mutilated he places in a card-box, or other similar piece of apparatus. Pack in hand, he advances to the company, and “forces” the knave of spades, having, meanwhile, the little corner piece of the concealed card hidden between the second and third fingers of his right hand. The card having been drawn, he requests the drawer to tear it up, and place the pieces on a plate, which he hands him for that purpose. Having received the pieces, he says carelessly, “You had better keep one piece for the purpose of identification;” and, so saying, hands him apparently one of the fragments of the card just torn, but really the concealed corner piece, which he drops from his hand on the plate for that purpose in the very act of picking up. The trick then proceeds as already described up to the finding of the card partially restored, in which condition it is handed to the drawer, and its identity proved by showing that the torn edge exactly corresponds with the corner retained. The trick may either end here, or, by using a second card-box, card-tripod, or the like, the card and corner may be again changed for a complete card.

Mechanical Changing Cards.—These are of two or three kinds, but all have the same object—viz., the apparent transformation of the card to a different one. In some cases the change is from a court card of one suit to the same card of another suit—e.g., a king of spades to a king of hearts, involving merely the alteration of the pip in the corner. This is effected by having the card made double, that portion of the front card on which the pip should be being cut out. The hindmost card, which is pasted only round the extreme edge to the front one, is a plain white card, but with the appropriate pip, say a spade, neatly painted in the proper position, to allow of its showing through the opening in the front card, which thus has the appearance of an ordinary king of spades. Between the two cards is a moveable slip, worked by a pin through a slip in the back, on which is painted a heart pip. By moving this slip, the heart is in143 turn brought opposite the opening, covering the spade pip, so that the card now appears to be the king of hearts. The card as above described is of the old single-headed pattern, but the same principle may be applied to double-headed cards. In this case both of the “pip” portions of the front card are cut away as in Fig. 55, while on the upper corresponding portion of the hinder card is painted (say) a spade, and on the lower a heart, as in Fig. 56. The moveable slip is of such a shape and size as to cover the one or the other, according as it is drawn up or down; and on the upper part of this (see Fig. 57) is painted a heart, and on the lower a spade. When, therefore, the slip is pushed up, the heart pip on the slip and the heart pip on the hindmost card are shown, so that the card appears to be a king of hearts. When, on the other hand, the slip is drawn down, the spade pip of the hinder card is revealed, and at the same time the slip covers over the heart pip of this latter, and exhibits its own spade pip, giving the card the appearance of a king of spades.

These mechanical cards are used in various ways. Such a card may be introduced with good effect in the trick of the “rising cards,” before described. The king of spades, we will suppose, is one of the cards drawn. The changing card is made one of those which rise from the pack, but is so arranged as to appear as the king of hearts. When the king of spades is called for, this card rises. The performer feigns to be taken by surprise, and asks the person who drew the card whether he is sure he is not mistaken, and that the card he drew was not the king of hearts. The drawer naturally maintains the correctness of his own recollection, while the performer as stoutly insists that the cards never deceive him, and that, if the king of spades had been drawn, the king of spades would infallibly have risen when called. At last, as if tired of the dispute, he says, “Well, I still maintain you were mistaken; but as you insist that144 your card was the king of spades, why, we will make this into a king of spades.” So saying, and holding up the card between his middle finger and thumb, he touches its face with his wand, and at the same moment with the first finger moves the slide, when the card changes to the king of spades. The little dispute as to the supposed mistake, which the audience have hitherto believed to be genuine, gives to the transformation an impromptu air which is very effective. The performer may go on to say, still holding up the card, “You are quite satisfied now, I presume.” The drawer assents. “Then if so, as it would spoil my pack to have two kings of spades in it, you will allow me, before proceeding further, to change the card back again. Change!” Again he touches the card with his wand, and it is seen to change back again to the king of hearts.

Another mode of using the mechanical card is in conjunction with the changing card-boxes, above described. In this case the changing cards are used in pairs. One of them, arranged as the king of spades, is secretly placed in the one box, and the other, arranged as the king of hearts, in the other. Two of the spectators are requested each to draw a card, and two genuine kings of the same respective suits are forced upon them. Taking the cards so drawn, and showing the card boxes apparently empty, the performer places one of the cards in each, taking care to place the king of hearts in the box containing the ostensible king of spades, and vice versâ. He now commands the two cards to change places, and, opening the boxes, shows that his commands are obeyed. He then remarks, “Now, I dare say you all think that the trick depends on the boxes. To show you that it is not so, I will again order the cards to change; and this time I will not place them in the boxes, but will merely take one in each hand, so. If your eyes are quick enough, you will see the cards fly across from the one hand to the other. Observe, the king of spades is in my right hand, and the king of hearts in my left. One, two, three—Change!” (with a stamp and a slight flourish of the cards). “Did you see them fly? Here is the king of hearts in my right hand, and the king of spades has passed to my left. I will put them in the boxes once more.” You put each in the box which it before occupied, in doing so again making the change, but without closing the boxes. You continue, “Please to notice which145 I put in each box—the king of hearts in the right hand box, and the king of spades in the left hand box. Is that right?” The audience reply in the affirmative. “Excuse me,” you say, “I fear you are mistaken. You did not notice, perhaps, that the cards had changed again.” You show that this is so, and then close the boxes so as to bring the cards originally drawn uppermost. Opening them once more, you show that the cards have again changed, and then remark, “I have shown you that the secret does not lie in the boxes, perhaps you would like to satisfy yourselves that there is no preparation about the cards,” which you accordingly hand for examination.

Another form of changing card is known as a “flap card.” This is a card across whose centre is fixed a moveable flap of exactly half its size. When the flap is folded one way, it covers the upper half, and when it is folded the other way the lower half of the card, in each case revealing a different surface. (See Fig. 58.) On one of such surfaces is pasted, say, a queen of clubs (made thin by peeling off the back), and on the other surface, say, a nine of diamonds, prepared in like manner. Thus the card will appear, according as the flap is folded, alternately a queen of clubs or nine of diamonds. An india-rubber spring tends to draw the flap down, so that the normal condition of the card is to appear as, say, the nine of diamonds. When exhibited to the company, the flap is forced over in the opposite direction, so that the card appears to be the queen of clubs. The thumb and finger hold the flap down until the right moment, when they relax their pressure, and the flap flying up, the card is instantly transformed to the nine of diamonds.

146

Before attempting tricks with coin, it will be necessary for the student to practise certain sleights and passes which more especially belong to this particular branch of the magic art, though the sleight-of-hand used in “coin tricks” is more or less applicable to most other small objects. The principles which we have given for card tricks will not here be of any direct assistance to the student; but the readiness of hand and eye which he will have acquired, if he has diligently put in practice the instructions already given, will be of great value to him as a preliminary training, and it may safely be predicted that any person who is a first-rate performer with cards will find little difficulty in any other branch of the art.

147

The first faculty which the novice must seek to acquire is that of “palming”—i.e., secretly holding an object in the open hand by the contraction of the palm. To acquire this power, take a half-crown, florin, or penny (these being the most convenient in point of size), and lay it on the palm of the open hand. (See Fig. 59.) Now close the hand very slightly, and if you have placed the coin on the right spot (which a few trials will quickly indicate), the contraction of the palm around its edges will hold it securely (see Fig. 60), and you may move the hand and arm in any direction without fear of dropping it. You should next accustom yourself to use the hand and fingers easily and naturally, while still holding the coin as described. A very little practice will enable you to do this. You must bear in mind while practising always to keep the inside of the palm either downwards or towards your own body, as any reverse movement would expose the concealed coin. When you are able to hold the coin comfortably in the right hand, practise in like manner with the left, after which you may substitute for the coin a watch, an egg, or a small lemon—all these being articles of frequent use in conjuring.

Being thoroughly master of this first lesson, you may proceed to the study of the various “passes.” All of the passes have the same object—viz., the apparent transfer of an article from one hand to the other, though such article really remains in the hand which it has apparently just quitted. As the same movement frequently repeated would cause suspicion, and possibly detection, it is desirable to acquire different ways of effecting this object. For facility of subsequent reference, we shall denote the different passes described by numbers.I

Pass 1.—Take the coin in the right hand, between the second and148 third fingers and the thumb (see Fig. 61), letting it, however, really be supported by the fingers, and only steadied by the thumb. Now move the thumb out of the way, and close the second and third fingers, with the coin balanced on them, into the palm. (See Fig. 62.) If the coin was placed right in the first instance, you will find that this motion puts it precisely in the position above described as the proper one for palming; and on again extending the fingers, the coin is left palmed, as in Fig. 60. When you can do this easily with the hand at rest, you must practise doing the same thing with the right hand in motion toward the left, which should meet it open, but should close the moment that the fingers of the right hand touch its palm, as though upon the coin, which you have by this movement feigned to transfer to it. The left hand must thenceforward remain closed, as if holding the coin, and the right hand hang loosely open, as if empty.

In the case of an article of larger size than a coin—as, for instance, a watch or an egg—you need not take the article with the fingers, but may let it simply lie on the palm of the right hand, slightly closing that hand as you move it towards the left. The greater extent of surface in this case will give you plenty of hold, without the necessity of pressing the article into the palm. Remember that, in any case, the two hands must work in harmony, as in the genuine act of passing an article from the one hand to the other. The left hand must therefore rise to meet the right, but should not begin its journey until the right hand begins its own. Nothing149 looks more awkward or unnatural than to see the left hand extended with open palm, before the right hand has begun to move towards it.

After the pass is made, a judicious use of the wand will materially assist in concealing the fact that the object still remains in the right hand. For this purpose the performer should, before commencing the pass, carelessly place the wand under either arm, as though merely to leave his hands free. Immediately that the pass is made the right hand should, with a sort of back-handed movement, which under the circumstances is perfectly natural, grasp the wand, draw it from under the arm, and thenceforth retain it till an opportunity occurs of disposing of the coin as may be necessary. The position of the fingers in the act of holding the wand is such as to effectually mask the concealed coin, while yet the hand appears perfectly easy and natural. The same expedient may be employed with equal advantage in the remaining passes.

Pass 2.—This is somewhat easier than Pass 1, and may sometimes be usefully substituted for it. Take the coin edgeways between the first and third fingers of the right hand, the sides of those fingers pressing against the edges of the coin, and the middle finger steadying it from behind. (See Fig. 63.) Carry the right hand towards the150 left, and at the same time move the thumb swiftly over the face of the coin till the top joint just passes its outer edge (see Fig. 64); then bend the thumb, and the coin will be found to be securely nipped between that joint and the junction of the thumb with the hand. (See Fig. 65.) As in the last case, the left hand must be closed the moment the right hand touches it; and the right must thenceforth be held with the thumb bent slightly inwards towards the palm, so that the coin may be shielded from the view of the spectators. This is an especially quick mode of palming, and if properly executed the illusion is perfect. It is said to be a special favourite of the elder Frikell.

Pass 3.—Hold the left hand palm upwards, with the coin in the position indicated in Fig. 59. Move the right hand towards the left, and let the fingers simulate the motion of picking up the coin, and instantly close. At the same moment slightly close the left hand, so as to contract the palm around the coin, as in Fig. 60, and drop the hand, letting it hang loosely by your side.

Pass 4. (Le Tourniquet).—This (sometimes known as the “French drop”) is an easy and yet most effective pass. Hold the left hand palm upwards, with the coin as shown in Fig. 66. Now move the right hand towards the left, passing the thumb of the right hand under, and the fingers over the coin, closing them just as they pass it. The effect is the same to the eye of the spectator as if you seized the coin with thumb and fingers, but, in reality, at the moment when the coin is covered by the fingers of the right hand, you let it drop quietly (see Fig. 67) into the palm of the left.

The right hand you should carry upwards and forwards after it leaves the left hand, following it with your eyes, and thereby drawing away the attention of the audience from the other hand. (See Fig. 68.) Do not be in too great a hurry to drop the left hand, but turn151 the palm slightly towards you, with the fingers a little bent, and, after a moment’s pause, let it fall gently to your side. The hollow made by the bent fingers will be sufficient to hold the coin.

This pass is available even for a sixpence or threepenny piece, which from their small size, cannot readily be palmed by the ordinary means. It is also very useful for “ball” conjuring.

Pass 5. (La Pincette).—This is a modification of the pass last described. The coin is held as in Fig. 69, between the thumb and first and second fingers of the left hand. You then make the movement of taking it between the same fingers of the other hand, which for that purpose makes a kind of “swoop” down upon it, the back of the hand being kept towards the spectators. At the moment when the coin is covered by the fingers of the right hand, it is allowed to slip gently down into the palm of the left, and the right is instantly elevated as if containing it.

Pass 6.—This pass is best adapted for use with three or four coins, as the chink of the coins against one another materially assists the illusion. Having to get rid of, say, four pence or florins, you take them in the right hand, as indicated in Fig. 70, viz., well back towards the wrist. Move the right hand sharply towards the left, with the fingers foremost, so that the finger-tips152 of the right hand may come smartly, at about right angles, against the palm of the left, at the same time slightly bending the fingers. The coins, instead of being shot forward (as to the eye and ear of the spectators they appear to be) into the left hand, are, in reality, retained in the hollow formed by the fingers of the right, as in Fig. 71. They are turned completely over as the hands come in contact, producing a loud chink. The left hand is, of course, closed, and the thumb of the right is allowed to sink gently on the coins, so that when the hand falls by your side, they may not make a second chink, and so betray their presence in the wrong hand.

Pass 7. (La Coulée).—This pass is best adapted for a coin of large diameter, like the French five-franc piece, and is but little used by English conjurors. If, however, the student has a very small hand (a serious disadvantage in conjuring generally), he may find it convenient to use the pass in question with a half-crown or penny. Take the coin in the right hand between the first and second fingers and the thumb, and in the act of apparently transferring it to the left hand, gently slide it with the ball of the thumb into the position shown in153 Fig. 72, where it is held by the pressure of the first and fourth fingers against its opposite edges, the hand remaining completely open.

Pass 8.—The peculiarity of this pass is, that it is made while holding the wand in the hand, a case in which none of the other passes are available. Holding the wand and coin in the right hand, as indicated in Fig. 73, you strike the edge of the coin sharply against the palm of the left hand, and instantly close that hand. The effect of the movement is to drive back the coin (which should be held very lightly) into the position shown in Fig. 74, in which, being behind the first three fingers, it is completely hidden. You should lose no time in relaxing the fingers of the right hand, and gently closing them around the coin, as their straightened position, if continued, might arouse suspicion. You must, however, be careful that, in doing so, you do not allow the coin to chink against the wand, as the sound would naturally draw attention to its whereabouts.

It must not be imagined that all of the passes above given are in turn used by every performer. Almost every conjuror has his favourite pass or passes, either selected from those above described, or invented by himself. Any mode by which a coin can be held in the hand without indicating its presence may be worked up into a pass. Thus, some performers will hold a coin by its edges154 between two of the fingers, or between the thumb and the side of the hand. Others, again, hold the coin flat against the first or second joint of the second or third finger, retaining it by slightly bending the finger. The novice should experiment till he ascertains which method best suits the conformation of his own hand. We have specified the hand to and from which each pass is generally used; but if the student desires to attain special excellence, he should practise until he is able to use each from left to right, as well as from right to left. In performing before a company of spectators, and standing with the left side towards them, it is well to use a pass which apparently transfers the coin from the right hand to the left, and vice versâ. The coin is thus left in the hand farthest away from the spectators, and the performer has the benefit of the cover of the body in dropping it into the pochette, or otherwise disposing of it.

The student will here, as in card conjuring, find great advantage in practising before a looking-glass, before which he should, in the first place, actually do that which he afterwards pretends to do, and carefully notice the positions and motions of his hands in the first case, which he should then do his best to simulate, that there may be as little difference as possible between the pretence and the reality. He should further accustom himself always to follow with his eyes the hand in which the object is supposed to be, this being the most certain means of leading the eyes and the minds of his audience in the same direction. When he is able to perform the passes neatly with a single florin or penny, he should then practise with coins of smaller size, with two coins at once, and afterwards with three or four.

155 A word of caution may here be desirable. These passes must by no means be regarded as being themselves tricks, but only as processes to be used in the performance of tricks. If the operator, after pretending to pass the coin, say, from the right hand to the left, and showing that it had vanished from the left hand, were to allow his audience to discover that it had all along remained in his right hand, they might admire the dexterity with which he had in this instance deceived their eyes, but they would henceforth guess half the secret of any trick in which palming was employed. If it is necessary immediately to reproduce the coin, the performer should do so by appearing to find it in the hair or whiskers of a spectator, or in any other place that may suit his purpose, remembering always to indicate beforehand that it has passed to such a place, thereby diverting the general attention from himself. As the coin is already in his hand, he has only to drop it to his finger-tips as the hand reaches the place he has named, in order, to all appearance, to take it from thence.

Having given this little piece of advice as to the hand in which the coin actually is, we must add a few words more as to the hand in which it is not. Whenever you have (apparently) placed any article either in the closed hand, or in some piece of apparatus from which it is afterwards to disappear, you should not, as a rule, show that the article has departed from the spot where you have apparently placed it, without interposing some magical process, however slight, which may colourably account for its disappearance. A mere nothing will suffice—a touch of the wand, the pronouncing of a magic formula, the pressure of a finger; but in some form or other the ceremony should never be omitted. Thus, to take a very simple example, we will suppose that by means of Pass 1 you have apparently placed in the left hand a coin, which really remains in the palm of the right. If you at once open the left hand, and show that the coin is not there, the spectators will naturally jump to the correct explanation, viz., that you did not, in reality, put the coin there at all. If, however, you delay opening the left hand for a minute or two, so as to let the audience get accustomed to the idea that the coin is therein, and then, before opening it, touch the hand mysteriously with your wand, or even simply, as you slowly open the left hand, rub the ball156 of the wrist with the second and third fingers of the hand which holds the coin (see Fig. 75), you not only give that hand an occupation apparently inconsistent with the fact of anything remaining concealed in it, but you suggest to the audience that the gesture in question is the cause of the disappearance of the coin. It is surprising what an effect even such a trifle as this has in misleading the judgment of a spectator. He knows perfectly well, in the abstract, that touching the closed hand with the wand, or rubbing it with a finger of the opposite hand, is not an adequate cause for the disappearance of the coin; but the fact being indisputable that the coin has disappeared, the mind unconsciously accepts the explanation which is thus indirectly offered. The advice here given becomes less important where, before the hand is opened, you are able to get rid of the object from that in which it originally appeared. Here the spectator is precluded from imagining that you retained it in the hand in which he first saw it, as that hand also is shown to be empty, and the absolute disappearance of the coin being a self-evident fact, you may leave the spectator to account for it in his own manner.

The various passes may be employed not only to cause the disappearance of an article, as above described, but to secretly exchange it for a substitute of similar appearance. These exchanges are of continual use in conjuring; indeed, we may almost say that three parts of its marvels depend on them. Such an exchange having been made, the substitute is left in sight of the audience, while the performer, having thus secretly gained possession of the original, disposes of it as may be necessary for the purpose of the trick. We proceed to describe various forms of changes, denoting them, as in the case of the passes, by numbers.

157 Change 1.—You desire, we will suppose, to exchange—or, in conjuror’s parlance, to “ring”—a florin, marked by the audience, for another. You have the latter, which we will call the “substitute,” ready palmed in your left hand, of course taking care to keep the palm turned away from the audience. Taking the marked florin in the right hand, you palm it in that hand by Pass 1, but instead of closing the left hand as the fingers of the right touch it, keep that hand loosely open, and show lying on its palm the substitute, which the audience take to be the original just placed there by your right hand.

Change 2.—This is the same as Change 1, save that you use with the right hand Pass 2 instead of Pass 1.

Change 3.—Here also you use Pass 2, but you have the substitute palmed in the right hand instead of the left. Taking up the marked florin with the same hand, you make with it Pass 2, at the same instant dropping the substitute from its palm into the left hand. This is a very neat and effective change. Some performers are expert enough to make this change by means of Pass 1 instead of Pass 2, the genuine coin taking the place of the substitute in the palm; but this demands dexterity of a more than average order.

Change 4.—For this change you must have the substitute palmed in the right hand, and take the marked coin between the thumb and second finger of the left. Then by Pass 4 appear to take it in the right hand, and at the proper moment exhibit the substitute, which you have already in that hand.

Change 5.—Have the substitute palmed in your right hand, and hold the marked coin openly on the palm of the left. Pick up the genuine coin with the right hand, at the same moment releasing the palmed substitute, which will accordingly fall into the left hand, the fingers of which should be held slightly hollowed, the better to conceal it. Show the marked coin in the right hand, and say, “You have seen me take up this coin visibly, I will make it return invisibly,” or make some other appropriate observation. Close the left hand, make Pass 1 or 2 with the right hand, with a motion towards the left, but without bringing the hands near together. The marked coin will, after the pass, be concealed in your right palm. Immediately opening your left hand, you show the substitute, which the audience believe to be the original which they have just seen.

158 There are many other changes; indeed, they are almost too numerous to describe. If you are able to palm and to make the various passes neatly, you will readily invent methods of “ringing” for yourself; in the meantime, you will find that the above will answer every necessary purpose, so far as coin tricks are concerned.

159

There is an immense variety of tricks with coin—some with apparatus, some without; some demanding a thorough mastery of sleight-of-hand; some so simple as to be within the compass of the merest tyro. The only classification which we shall attempt will be to divide them into such as do and such as do not require special apparatus.

A Florin being spun upon the Table, to tell blindfold whether it falls head or tail upwards.—You borrow a florin, and spin it, or invite some other person to spin it, on the table (which must be without a cloth). You allow it to spin itself out, and immediately announce, without seeing it, whether it has fallen head or tail upwards. This may be repeated any number of times with the same result, though you may be blindfolded, and placed at the further end of the apartment.

The secret lies in the use of a florin of your own, on one face of which (say on the “tail” side) you have cut at the extreme edge a little notch, thereby causing a minute point or tooth of metal to project from that side of the coin. If a coin so prepared be spun on the table, and should chance to go down with the notched side upwards, it will run down like an ordinary coin, with a long continuous “whirr,” the sound growing fainter and fainter till it finally ceases; but if it should run down with the notched side downwards, the friction of the point against the table will reduce this final whirr to half its ordinary length, and the coin will finally go down with a sort of “flop.” The difference of sound is not sufficiently marked to attract the notice of the spectators, but is perfectly distinguishable by an160 attentive ear. If, therefore, you have notched the coin on the “tail” side, and it runs down slowly, you will cry “tail;” if quickly, “head.”

If you professedly use a borrowed florin, you must adroitly change it for your own, under pretence of showing how to spin it, or the like.

You should not allow your audience to imagine that you are guided by the sound of the coin, as, if once they have the clue, they will easily learn to distinguish the two sounds. They are not, however, likely to discover the secret of the notch, and if any one professes to have found out the trick, you may, by again substituting an unprepared florin, safely challenge him to perform it.

Odd or Even, or the Mysterious Addition.—This is a trick of almost childish simplicity, depending upon an elementary arithmetical principle. We have, however, known it to occasion great perplexity, even to more than ordinarily acute persons.

You take a handful of coins or counters, and invite another person to do the same, and to ascertain privately whether the number he has taken is odd or even. You request the company to observe that you have not asked him a single question, but that you are able, notwithstanding, to divine and counteract his most secret intentions, and that you will in proof of this, yourself take a number of coins, and add them to those he has taken, when, if his number was odd, the total shall be even; if his number was even, the total shall be odd. Requesting him to drop the coins he holds into a hat, held on high by one of the company, you drop in a certain number on your own account. He is now asked whether his number was odd or even; and, the coins being counted, the total number proves to be, as you stated, exactly the reverse. The experiment is tried again and again, with different numbers, but the result is the same.

The secret lies in the simple arithmetical fact, that if you add an odd number to an even number the result will be odd; if you add an odd number to an odd number the result will be even. You have only to take care, therefore, that the number you yourself add, whether large or small, shall always be odd.

161

To change a Florin into a Penny, back again, and then to pass the same invisibly into the pocket of the owner.—This is a trick of genuine sleight-of-hand, and will test your expertness in two or three different passes. Having beforehand palmed a penny in your right hand, you borrow from one of the company a florin (or half-crown), requesting the owner to mark it in such manner that he may be able to identify it. Make him stand up facing you, your own right side and his left being towards the audience. Taking the marked florin between the fingers and thumb of the right hand (the back of which, from your position, will be toward the spectators), you ask him whether he is nervous, whether he can hold fast, and so on. On receiving satisfactory replies, you state that you are about to put him to the test, and request him to hold out his right hand, telling him that you are about to count three, and that at the word “three” you will drop the florin into his hand, which he is to close tightly upon it. You accordingly count, “One! two! three!” each time making a motion as of dropping the florin into his hand, and at the word “three” actually do drop it, when he closes his hand upon it, as directed; but you are not satisfied. “That won’t do, my dear sir,” you exclaim; “you are not half quick enough—you allow all the electric fluid to escape. We’ll try once more, and pray be a little quicker in your movements. Oblige me with the coin again. Now, then, are you ready?—One! two!! THREE!!!” giving the words with great energy. As you say “three” you stamp your foot, and apparently again drop the florin, but really drop the penny instead, by Change 3. He is sure this time to close his hand very quickly, and, having no reason to the contrary, naturally believes that it is the florin which he holds, your previous feint, when you did actually drop the florin, being specially designed to lead him to that conclusion. You next request him to hold the closed hand high, that all may see it. This draws the general attention to him, and away from yourself, and enables you to place in your palm the florin, which was left, after the change, in the bend of your right thumb. You continue, “You did better that time, sir. Now, what will you bet me that I cannot take that two-shilling-piece out of your hand without your knowing it?” Whether he admits or defies your power, the course of the trick is the same.162 “Well,” you say at last, “you seem so determined that I am almost afraid to take the whole of the two-shilling piece away from you, I think I must be content with one-and-elevenpence. Allow me to touch your hand with my wand.” You do so, and on opening his hand he discovers that the two-shilling piece has changed into a penny.

You thank him for his assistance, hand him the penny, and dismiss him to his seat. Naturally enough, he objects to accept the penny in place of his florin. You pretend at first not to understand him, but, as if suddenly enlightened, you exclaim, “Oh, the florin, you want the florin? My dear sir,” indicating the penny, “that is the florin. At present it is under an electric influence, but you have only to wait till that goes off (it won’t take more than three weeks or so), when it will resume its former appearance. You don’t believe me, I see; but I can easily convince you by discharging the electric fluid, when the change will take place at once. Observe!” You take the penny between the thumb and second finger of the left hand (after the manner indicated in Fig. 66), and make Change 4, making a gentle rubbing movement with the fingers and thumb of the right hand before you open that hand and disclose the restored florin, at the same time carelessly dropping your left hand to your side, and letting fall the penny into your pochette on that side. Bring up the left hand again, showing, but without apparent design, that it is empty; and still holding the coin in the right hand, make Pass 1, as if you transferred it to the left hand. Make a motion with the left hand, as if handing the coin, and say to the owner, “Will you be good enough to examine the florin, and see that it is the same you marked.” He naturally holds out his hand for the coin, which he believes to be in your left hand, and which you pretend to give him; but it has vanished. “Well,” you say, “is it the same florin?” Looking, probably, rather foolish, he replies that he has not got it. “Not got it!” you say; “why I have just given it to you. I passed it into your pocket. Look for yourself.” He forthwith begins to search his pockets. “You are trying the wrong one,” you say; “this is the pocket.” As if desiring merely to assist his search, you plunge into any pocket which he has not yet tried your right hand (in the palm of which the coin was left after the pass), and letting the coin drop163 to the finger ends, take it out as if it were already in the pocket, as nine-tenths of the audience will believe it to have been.

To make a marked Florin and Penny, wrapped in separate Handkerchiefs, change places at command.—Borrow a florin (or half-crown) and a penny, requesting the owners to mark them, that they may be sure of knowing them again. Also borrow two pocket handkerchiefs.

It may be well to mention, once for all, that it is generally desirable to borrow from the audience, when you can, any indifferent article used in a trick (e.g., a hat, a watch, or a handkerchief), as you thereby seem to give a guarantee for the absence of preparation. Articles so borrowed are taken upon trust, so to speak, and by making a secret exchange you may still use a prepared substitute, which will escape the close scrutiny to which any article confessedly provided by yourself would be subjected.

While the articles above mentioned are being collected from the audience, you secretly palm in your left hand a penny of your own. Receiving the borrowed coins in your right hand, apparently transfer them to the left, but really only transfer the florin, the marked penny remaining in your right hand. This may be effected by making Pass 2 with the marked penny, at the same time allowing the marked florin to drop from the palm as directed in Change 3. Take the earliest opportunity of transferring the marked penny to the palm of the right hand, and showing the marked florin and the substitute penny (which the spectators take to be the genuine one) on the open left hand, place them on your table, begging the audience to observe that they do not for one moment leave their sight. Then picking up with the right hand the florin, on which you may casually show the mark, and throwing one of the borrowed handkerchiefs over the hand, take hold (through the handkerchief) of apparently the florin which you have just shown, but really of the marked penny, and transfer the marked florin to the palm. The shape of the coin, which the audience take to be the florin, will be distinctly seen through the handkerchief, whose folds will fall down around it. Give the handkerchief containing the coin to some person, requesting him to hold it tightly just below the coin, and well above his head, that164 all may see it.J Now take up the substitute penny, and apparently wrap it, in like manner, in the second handkerchief, really substituting as before the coin concealed in your palm. The substitute penny, which remains in your right hand, you must drop into your pochette or profonde at the first available opportunity. Give the second handkerchief to another person to hold. The first handkerchief now, to all appearance, contains the florin, and the second the penny. Invite the two persons to stand face to face, the hands holding the handkerchiefs just touching, and after gravely cautioning them to hold very tight, etc., etc., give their hands a gentle rap with your wand, saying, “Change!” Upon examination, the coins are found to have obeyed your commands.

Managed with neatness and address, this is an admirable drawing-room trick; the previous marking of the coins apparently precluding any possibility of using substitutes, and allowing the spectator no alternative but to admit that by some mysterious means the identical coins have changed places.

A similar trick may be performed without the use of the handkerchief. As before, you borrow a marked florin and penny, exchanging the latter for one of your own, and palm the genuine one. Taking up the marked florin from the table, you hand it to some one to hold, substituting for it as you do so the genuine penny by Change 3, as indicated in the trick last described. The florin is thus left in your right hand. Palm it, and take up the substitute penny between the second finger and thumb of the left hand, and pretend by Pass 4 to transfer it to the right, which you immediately close. Drop the penny into your pochette on the left side, and announce that by your magic power you will compel the penny which you hold to change places with the florin held by the spectator. When the hands are opened, the supposed change is found to be accomplished.

To make two marked Coins, wrapped in separate Handkerchiefs, come together in one of them.—The coins and handkerchiefs borrowed for the purpose of the last trick will again serve in this one. Palm in your right hand a penny of your own, and throw over the165 same hand one of the borrowed handkerchiefs. This will effectually conceal the substitute penny, which you may now take between the finger and thumb. Holding the handkerchief spread out upon the open hand, you take up with the left hand the marked penny and place it on the handkerchief, as if to wrap it therein, but at the same time with the third finger push a fold of the handkerchief under the substitute penny in your right hand. You now invert the handkerchief over your left hand for a minute, allowing the marked penny to drop back into that hand, and at the same time twist the fold already mentioned around the substitute. The audience see the shape of a coin wrapped up in the handkerchief, and naturally believe that it is that of the marked penny which you have apparently placed inside it. In reality, it is that of your own penny, wrapped merely in an outside fold. You now hand the handkerchief to some one to hold, requesting him to grasp the coin, and hold tightly.

The marked penny, it will be remembered, remains in your left hand, and the marked florin on the table. As you go to take up the latter, you transfer the penny to your right hand, and palm it; then pick up the florin, holding it at the tips of the fingers. Spread the second handkerchief on the open palm of the left hand. Bring the florin down smartly upon it, and by the same movement let the penny fall from the palm on to the handkerchief. The two coins will now be lying (covered by the right hand) on the handkerchief, a couple of inches apart. Close the left hand on both coins, and turn the hand over, so that the edges of the handkerchief hang down. With the right hand grasp the handkerchief five or six inches below the coins. Take one of these through the handkerchief between the finger and thumb of the left166 hand, letting the other fall loose inside the handkerchief, which you then invite some one to hold in like manner, but in a horizontal position. (See Fig. 76.) This position is adopted in order that the two coins may not, by any accidental chink, prematurely disclose the fact that both are already in the handkerchief.

You now announce that you are about to make both coins pass into one handkerchief. Advancing to the person who holds the first handkerchief, you request him, still maintaining his hold, to remove his hand four or five inches below the coin, to give you room to operate. First showing that your hand is empty, you gently rub the substitute penny through the handkerchief between your finger and thumb, when, being only wrapped within a fold, it quickly falls into your hand. No one ever thinks of inquiring at this point whether it is the marked one or not. Taking it in the left hand, in position for Pass 4, you say to the person holding the second handkerchief “Having extracted this penny from the one handkerchief, I will now pass it into the other. I won’t even touch the handkerchief, but will simply take the coin in my hand, and say, ‘Pass!’ Will you be good enough, at the word ‘pass,’ to let go of the coin you are holding, but still keep hold of the handkerchief with the other hand.” Appearing, by Pass 4, to take the penny in the right hand, you open that hand with a quick motion towards the handkerchief, saying, “Pass!” The person holding the handkerchief looses his hold, as directed, when the two coins are heard to chink together, as though the second coin had just arrived in the handkerchief, and on examination they are, of course, found to be those marked.

167 We may here describe another and still neater mode (the invention, we believe, of M. Robert-Houdin) of apparently wrapping a coin securely in a handkerchief, though really only covered by an outer fold.

Holding the coin upright between the fingers and thumb of the left hand, throw the handkerchief fairly over it. Having shown that it is fairly covered, remark, “But perhaps you may fancy I have changed the coin. Allow me to show you that I have not.” With the right hand, palm upwards, take the coin through the handkerchief, (as shown in Fig. 77), between the first and second fingers of that hand. For a moment let go with the left hand (but without removing it from under the handkerchief). Turn over the right hand towards yourself, and again seize the coin with the left hand; but this time nip the opposite edge of the coin to that which it first held, and through the double thickness of the handkerchief. Remove the right hand from the coin, and with it raise the outer edge of the handkerchief and show the coin, as in Fig. 78. Then let the edges of the handkerchief fall. Apparently the coin is underneath, and in the centre of the handkerchief; but in reality it is outside, lying in a slight fold on the side away from the spectators.

The above description sounds intricate, but, if carefully followed with the coin and handkerchief will be found perfectly simple in168 practice. It is worth while taking some pains to acquire this sleight, as it is of great value in coin tricks.

To Pull Four Florins or Half-crowns through a Handkerchief.—You begin by borrowing four marked half-crowns, florins, or penny-pieces, and a silk or cambric handkerchief. You then request the assistance of a very strong man. This gives an opportunity for a little fun in the selection. Having at last found a volunteer to your liking, you seat him on a chair facing the company. Spreading the handkerchief on your left palm, and placing the four coins upon it, you close your hand upon them through the handkerchief, and hand them to him, requesting him to hold them firmly. Then, as if suddenly recollecting yourself, you say, “Pardon me, I have omitted one little detail which is rather important. Oblige me with the handkerchief again for one moment, if you please. I ought to have shown the company that there are no holes in it.” (The last sentence should not be pronounced until you have gained possession of the handkerchief, as the company might possibly declare themselves satisfied of the fact without examination, which would not answer your purpose.). The handkerchief being returned to you, you spread it out to show that it is free from holes, coming among the audience to do so, and appearing to lay great stress upon the fact. Again spreading it over your left hand, you count the coins one by one upon it; then giving a glance round at the company, you say, as you quickly return to your platform, “You have all seen that the four coins are fairly wrapped in the handkerchief,” or make any other remark in order to draw the general attention, as a sharp, quick remark almost always will, to your face and away from your hands. At the same moment you move the left thumb over the face of the coins, thereby covering them with a fold of the handkerchief, and seize them, through the fold thus made, between the thumb and fingers of the right hand, as indicated in Fig. 79, immediately withdrawing the left hand. The coins will now be held in the right hand, the handkerchief hanging down loosely around them. To any one who has not watched your movements with more than ordinary vigilance, it will appear that the coins are within and under the handkerchief, though they are, in reality, wrapped in an external fold. Giving169 them a twist round in the handkerchief, you hand it to the person assisting you, asking him to say whether the money is still there, to which he naturally replies in the affirmative. You then tell him to grasp the handkerchief with both hands three or four inches below the coins, and to hold as tightly as he possibly can. Placing your wand under your right arm, and taking hold of the coins (through the handkerchief) with both hands, the right hand undermost, you begin to pull against him, making a show of pulling with great force, and remarking that you are very glad it is not your handkerchief, that you should not have thought he was so strong, etc. Meanwhile, and while the company are enjoying the discomfiture of the owner of the handkerchief, you untwist the latter, and secretly get the money out of the fold into your right hand, and palm it therein. Give one last pull with your left hand, and let go smartly, observing that you fear you must give it up, and own yourself conquered. Take your wand in your right hand; this will make it seem natural for you to keep that hand closed, and will materially aid in concealing the fact that the money is therein. Your antagonist, or the spectators for him, will by this time have discovered that the money has vanished; but you pretend to be unconscious of the fact, and request him to give it back, that you may return it to the owners. He naturally declares that he has not got it. With all the seriousness that you can command, you insist that he has it, and that he must restore it. On his continued denial you suggest that he should search his pockets, which you tap, one after another, with your wand, each giving a metallic sound as if containing money; but the coins are still not to be found. At last, after all his pockets have170 been tried in vain, you, as if upon a sudden thought, tap the leg of his trousers, the metallic chink still following every tap of the wand till you have nearly reached his feet, when you exclaim, “Yes, there it is. Will you have the kindness to put your foot on that chair?” He does so, and quickly transferring your wand to the left hand, with the fingers of the right you turn up the edge of the trouser, giving at the same time a slight shake, when the four coins are seen to fall out, to the great surprise of the victim.

This effect is produced as follows: The coins being in your right hand, you introduce them with the second, third, and fourth fingers under the edge of the trouser; then, with the first finger and thumb which are left outside, you nip them through the cloth, and hold them an instant till you have withdrawn the remaining fingers, when with a slight shake you let them fall.

The metallic chink on tapping the pockets may be produced in two ways. One method is to use a hollow metal wand, japanned to match the one you ordinarily use, and containing throughout its length a loose piece of thick wire, which, striking against the sides of the tube, exactly imitates the chink of money. The other mode is to use merely the ordinary wand, allowing the end which you hold to chink against the money held in the same hand. With a little practice the effect is equally deceptive as with the special wand.

To pass a Marked Florin (or Half-crown) into the Centre of two Oranges in Succession.—For this excellent trick a little previous preparation is necessary. A slit, an inch and a half deep, and just large enough to admit a florin, is made in each of two oranges, and in one of them a florin (which for distinction we will call No. 1) is placed. These must be put in readiness behind the scenes, or so placed as to be out of sight of the audience.

The performer palms in either hand a second florin (No. 2), and advancing to his audience, borrows from one of them a florin, first marked by the owner. (This last we will call No. 3). He invites special attention to the fact that throughout the experiment he is about to perform, the coin is never removed from their sight, and he accordingly places it (really substituting, by one or other of the changes, florin No. 2) in full view on his table. He then goes out to fetch an171 orange, and takes the opportunity of slipping the marked florin (No. 3) into the vacant one. He brings forward this orange publicly, and places it on his table at his right hand. (The other orange he has meanwhile placed in his secret pocket on the right side, ready for palming at a moment’s notice.) He then says, “I think, by the way, it would be as well to have two oranges. Can any gentleman oblige me with one?” No one responding, he looks about him, and presently stepping up to one of his audience, pretends to take from his hair, hat, or handkerchief this second orange (which contains, it will be remembered, florin No. 1), and places it on the left hand side of the table. He now (standing behind his table) asks into which orange, the right or the left, he shall pass the florin. As the right of the audience is his left, he is at liberty to interpret the answer in whichever way he thinks proper, and he does so in such manner as to designate the orange containing the non-marked florin, No. 1. Thus, if the audience say “the left,” he answers, “On my left? Very good!” If they choose “the right,” he says, “On your right? Very good!” Not one person in a thousand will detect the equivoque.

Taking up florin No. 2 from the table, and holding it in his left hand, he pretends by the tourniquet to take it in his right, and thence to pass it into the orange, meanwhile dropping it from his left hand on to the servante, or into the profonde. Showing his hands empty, he cuts open the orange, and exhibits the florin (No. 1) therein contained. Before giving the audience time to examine it for the mark, he hears, or pretends to hear, a murmur among them to the effect that that was not the orange chosen. “Pardon me,” he says, “some of you seem to think that I had a special reason for preferring this particular orange. I gave you absolute liberty to choose which you liked, and I understood you to say that you chose this one. However, in order to satisfy everyone, I will repeat the trick with the other orange.” Taking up the second orange, he thrusts the knife through it, in the slit already made, and gives the knife thus loaded to some one to hold. Then, standing at some distance from it, he takes up florin No. 1, and, getting rid of it by one or other of the “passes” previously described, he makes a motion as of throwing it towards the orange. He now requests the person holding the orange himself172 to cut it open; when the genuine florin, No. 3, is found therein, and duly identified.

The finding of the second orange in the possession of the company may, if preferred, be omitted, and both oranges be brought forward openly in the first instance.

Occasionally a refractory spectator may insist upon the wrong orange (i.e., that containing the genuine coin) being cut open first. As you have offered the audience the choice, you cannot well resist this; but it makes very little difference. In accordance with the general desire, you cut open the orange, and show the coin (No. 3), drawing particular attention to the mark. Its identity being fully established, you offer, for the general satisfaction, to pass the same coin into the second orange. Being satisfied that it was the genuine coin in the first case, the audience will the more readily believe that it is so in the second; but in this case you should cut open the second orange yourself, as it will be necessary to again substitute the genuine florin before you hand the coin to be examined.

The Flying Money.—To make a Coin pass invisibly from the one hand to the other, and finally through the Table.—Have ready beforehand a florin or half-crown, with a little wax on one side of it, and take an opportunity of secretly sticking it, by means of the wax, against the under side of the table (any ordinary table) with which you intend to perform the trick. Have also a similar coin of your own palmed in your right hand. Borrow a marked florin from one of the company, and lay it carelessly upon the table, but in so doing exchange it for the one previously palmed. You now have the substitute on the table, and the marked coin palmed in its place. Turn up your sleeves, to show that they have nothing to do with the trick, and make a few introductory remarks about the extraordinary power of the mesmeric influence as applied to metallic substances; then, taking up the coin from the table between the fingers and thumb of the left hand, which you hold with the palm towards the company, so as to show incidentally that it is otherwise empty, continue to the following effect:—“Here, ladies and gentlemen, is an ordinary coin, a mere inert piece of silver. If173 you take it in your hand, there it will remain till you lay it down. But let a person possessing the mesmeric gift only breathe upon it” (you suit the action to the word), “and it is at once endowed with hearing, sense, and motion, and will fly from hand to hand at the mere word of command, and that so rapidly, that its flight is absolutely invisible. See, I take it so” (taking it in the right hand). “One, two, three! Pass! and it flies back into my left hand again. In order to show that there has been no substitution, perhaps the owner will kindly verify the mark.” The coin is examined, and found to be the same.

This illusion is produced as follows:—When you breathe upon the substitute coin, you naturally turn the left hand palm upwards. In the act of taking that coin in the right hand, which you do with the hands in the position depicted in Fig. 69, you drop the genuine coin, which was previously palmed in the right hand, into the left, the position of the hand concealing it from the audience. After a momentary pause, you close the left hand, and hold it extended about level with your eyes. At each of the words, “One, two, three,” you make a slight motion of the right hand towards it, and at the word “Pass,” palm the coin by means of Pass 1, at the same time making a half turn of your body to the left, opening the left hand, and pointing with the index finger of the right hand to the coin lying therein. While it is being examined for the mark, you drop the substitute, which remains palmed in your right hand, into the pochette on that side, and bring up your hand empty.

Having proceeded thus far, borrow a second florin, but without in this case suggesting that it should be marked, breathe upon it, and lay it with that first used upon the table. Now with your right hand take up one of the coins, and by Pass 1 pretend to transfer it to the left, really retaining it in the palm of the right hand. Then take up the second coin between the fingers and thumb of the right hand, and announce that you are about to make the coins, which you now hold in each hand, come together. Holding your arms well apart, you make a motion with the left hand as if throwing something towards the right, at the same moment saying as before, “One, two, three! Pass!” and making the two coins in the right hand come together with an audible chink. You then open the hand, and show that the174 left is empty, and that both of the coins are together in the right hand.

You continue, “You all think you know how that was done, I dare say. You imagine, no doubt, that the money was merely thrown from one hand to the other with extreme rapidity. ‘The quickness of the hand deceives the eye,’ as Shakspeare (or somebody else) says. I will therefore show you the same experiment in another form in which you will find that no such solution is admissible. I will pass the money right through this table, which is, as you see, pretty solid. The quickness of the hand would not be of much use in this case. I take one of the coins in the left hand, as before.”

Here, however, you introduce a feint. Taking up the coin in the right hand, you transfer it to the left, but purposely do it with a pretended awkwardness, and hold the right hand afterwards rather stiffly, so as to lead the spectators to believe that you have really retained the coin in the right hand. To do this cleverly will require considerable practice, but it will by no means be labour lost, as feints of this kind are of frequent use.

The spectators, delighted to have, as they imagine, caught you tripping, are sure to exclaim that the coin is still in your right hand. “Surely, ladies and gentlemen,” you say, with an injured air, “you don’t think that I would avail myself of such a transparent artifice. See for yourselves!” opening your hands. “I won’t ask you to apologize, but pray give me a little more credit for the future. Come; we will have no mistake about it this time.” Take the florin between the finger and thumb of the left hand, and, by means of the tourniquet or pincette, appear to transfer it to the right. Pick up the second coin with the left hand, and place that hand under the table, holding the closed right hand above it. Say “Pass!”, open the right hand, show it empty, and at the same moment chink the two florins together in the left hand, and bring them up for inspection.

Looking around you, you continue, “I am afraid you are only half convinced; some of you look incredulous still. Come, we will try the experiment once more, and we will see whether you can find me out this time. As before, I take one coin in each hand.” This time you actually do so. You again pass your left hand under the table, detaching in its passage the third florin, which you had previously175 stuck to the under side of the table, but taking care that the two do not prematurely jingle together. Then, holding the other florin with the fingers of the right hand, which should be held palm downwards about a foot above the table, make Pass 1 with that hand, thus bringing the coin into its palm, and at the same time chink the other two coins in the left hand, and bring them up for examination. One of them, in this instance, is a substitute, and therefore, in the unlikely event of the audience insisting that the trick should be performed with marked coins, this last act must be omitted.

With a regular conjuring-table, the trick might be made even more surprising, from the facilities which the servante would afford for getting rid of and regaining the coin. But even if you habitually use such a table, it is better not to avail yourself of it for this purpose. The trick is, in any shape, too minute for stage performance, and in a drawing-room it is apt to draw special attention to the table, which in the case of a trick-table is a little embarrassing.

To rub One Sixpence into Three.—This is a simple little parlour trick, but will sometimes occasion great wonderment. Procure three sixpences of the same issue and privately stick two of them (as directed for the florin in the last trick) with wax to the under side of a table, at about half an inch from the edge, and eight or ten inches apart. Announce to the company that you are about to teach them how to make money. Turn up your sleeves, and take the third sixpence in your right hand, drawing particular attention to its date and general appearance, and indirectly to the fact that you have no other coin concealed in your hands. Turning back the table-cover, rub the sixpence with the ball of the thumb backwards and forwards on the edge of the table. In this position your fingers will naturally be below the edge. After rubbing for a few seconds, say, “It is nearly done, for the sixpence is getting hot;” and, after rubbing a moment or two longer with increased rapidity, draw the hand away sharply, carrying away with it one of the concealed sixpences, which you exhibit as produced by the friction. Pocketing the waxed sixpence, and again showing that you have but one coin in your hands, repeat the operation with the remaining sixpence.

176

The Multiplication of Money.—This is an old and favourite trick. It may be performed with shillings, pence, or florins, as may best suit your convenience. Whichever you use (we will suppose florins), you prepare for the trick by secretly palming in the right hand such number (say three) as you intend to magically add. Advancing to the audience, you beg the loan of ten or a dozen florins (the precise number is immaterial), at the same time requesting some one of the company to collect them, and bring them to you. He collects, we will suppose, twelve. You request him to count them openly upon the table, that all may be able to verify their number. This being done, you invite a second person also to step forward and assist. Picking up from the table the same number of coins as you have concealed in your palm, you give them to one of the two persons (whom we will call A) to hold. Then, taking up the remaining coins, you request the second person (whom we will call B) to take charge of them. When he holds out his hand to receive them, you let fall with them the palmed coins, so that he really receives twelve, though he believes that he has only nine. You make him close his hand, and hold it high above his head. You then ask A for the coins you entrusted to him. On his returning them to you, you take them between the second finger and thumb of the left hand, and pretend by the tourniquet to transfer them to the right, really getting rid of them at the earliest opportunity on the servante, or into one of your pochettes. The audience believe that the three coins are in your closed right hand. You announce that you are about to pass them invisibly into the hand of B, and after the necessary amount of magical gesture, you open your hand, and show that they have vanished; and B, on examining his stock, finds that the supposed nine have increased to twelve.

It is a very good plan, in performing this trick, for the performer himself to collect the coins from the company in a plate, the coins to be added being held in the same hand which carries the plate, when, the thumb being naturally above and the fingers below, the coins are effectually concealed. After the coins have been counted, the performer, taking the plate in the other hand, pours them from it into the hand which already holds the concealed coins, thus bringing them together easily and naturally.

177

A further improvement may be made in the trick by using, in place of an ordinary plate, a special plate or salver, generally made of tin japanned, but sometimes of crockery or china. The speciality of this plate (which is known as the “money plate,” or “multiplying salver”) consists in a flat space running along its bottom, between its upper and under surface, just wide enough and deep enough to hold concealed a row of coins (florins or shillings, as the case may be), and closed at the one end, but open at the other, the opening being concealed by the edge of the plate. (See Fig. 80.) You prepare the plate beforehand by placing in the concealed space three, four, or six coins, and place it on your table. When you first take it up, you take hold of it near the opening, when you may, of course, handle it as freely as you please, as, the mouth of the passage being upwards, the coins cannot possibly fall out. Letting the plate hang downwards in a perpendicular position, and passing it carelessly from hand to hand, the audience cannot help observing that you have nothing concealed in your hands. Then collect (or count out, if already collected) the money in the plate, and, after taking away and handing to A a number equal to the coins concealed, pour the remainder direct from the plate into the hands of B, first, however, so reversing the position of the plate (which you may do by merely transferring it from the one hand to the other) as to turn the opening of the passage away from you. When you now slope the plate to pour the remaining coins into his hands, the money in the concealed passage will naturally pour out with them (see Fig. 80), thus making the required addition with hardly a possibility of detection.

178 It is a good plan to perform the trick first without, and then to repeat it with, the aid of the money plate, making a great point in the second instance of the fact that you do not even touch the money, and accounting for the use of the plate as designed to preclude all possibility of the use of sleight-of-hand, or any other mechanical mode of deception. The spectators, having already seen you perform the trick without the aid of the plate, are precluded from supposing that this latter has any special connection with the secret; and seeing clearly that you have in this instance no coins concealed in your hands, naturally conclude that the same was the case on the former occasion. Thus the repetition of the trick, instead of assisting them to a solution, rather increases the mystery.

The trick may be varied at pleasure so far as regards the manner of the disappearance of the coins which are supposed to be passed invisibly into the hands of the person holding the larger number. One mode is to ask one of the company to wrap them up in a piece of stiff paper, for which you forthwith secretly substitute a piece of similar paper, in which a like number of coins have been wrapped, but have been removed, the paper, however, retaining the form of the coins. Taking this in the left hand, you pretend to take from it, invisibly, with the finger and thumb of the right hand, each coin in succession, and to pass it in the same manner into the hand of the person holding the remaining coins, finally tearing the paper in half to show that they have really passed away from it. Or you may, if you prefer it, place the coins in question on the “vanishing plate,” to be hereafter described, whence they mysteriously disappear as you take them off one by one. This is a very effective mode. Or you may place them in the “plug-box,” the “Davenport cabinet,” or any other of the various appliances after-mentioned for vanishing money.

To make a Marked Sixpence vanish from a Handkerchief, and be found in the Centre of an Apple or Orange previously examined.—Have ready, concealed in either hand, a sixpence of your own, with a little wax smeared on one side of it. Roll another minute portion of wax into a round ball half the size of a peppercorn, and press it lightly upon the lowest button of your waistcoat,179 so that you may be able to find it instantly when wanted. You must also have at hand an ordinary full-sized table-knife and a plate of oranges.

You begin by borrowing a sixpence (requesting the owner to mark it) and a handkerchief. You spread the handkerchief flat on the table, with its sides square with those of the table. Then standing behind your table, you place ostensibly the borrowed sixpence, but really your own (with the waxed side up), in the centre of the handkerchief, then fold over the corners, one by one, beginning with one of those nearest to yourself, in such manner that each shall overlap the sixpence by about an inch, gently pressing each corner as you fold it down. Ask some one to come forward, and ascertain by feeling the handkerchief, that the sixpence is really there. Then offer the knife for inspection, and after all are satisfied that it is without preparation, hand the plate of oranges to be examined in like manner, requesting the audience to choose one for the purpose of the trick. While they do so, your fingers go in search of the little ball of wax, and press it against one side of the marked sixpence, which still remains in your hand. Press the sixpence against one side of the blade of the knife, at about the middle of its length, and lay the knife on the table, the sixpence adhering to its under side. Then taking hold of the handkerchief, as represented in Fig. 81, and blowing on its centre, draw the hands quickly apart. The two corners of the side next to you will thus be brought one into each hand, and adhering to one of them (the one which you first folded down), will be the substitute sixpence, which will thus appear to have vanished. Hand the handkerchief for examination, that it180 may be seen that the coin has really disappeared, and meanwhile get rid of the substitute into your pocket or elsewhere. Turn up your sleeves, and show that your hands are empty. Then take up the knife (taking care to keep the side on which the sixpence is away from the spectators), and cut open the orange. Cut about half way down with the point, and then finish the cut by drawing the whole length of the blade through the opening thus made. This will detach the sixpence, which will fall between the two halves of the orange, as though it had all along been contained therein. Wipe it with the handkerchief to remove the juice of the orange from it, and at the same time rub off any wax which may still adhere to it, and hand it for identification.

The coin may, if preferred, be found in an egg instead of the orange, the audience being invited to choose which shall be used. This trick is sometimes performed by the aid of a knife made for this special purpose, with a small spring lever, after the manner of a flute key, soldered against one side of the blade. The coin is held in position by the short arm of the lever, which answers the same purpose as the wax in the form of the trick above described. The disadvantage of using this, which is known as the “fruit knife,” is, that you cannot hand the knife for examination, and this, to our mind, spoils the trick.

The Travelling Counters.—This is a very similar trick to that already described under the title of the “Multiplication of Money.” It is performed with twelve metal counters. The performer begins by counting the twelve counters on the table; then, taking up four of them, he hands them to a spectator to hold, and taking the remainder in his own hand, commands them to change places. On examination, his commands are found to be obeyed. The spectator has eight, while the performer has only four. The spectator is now requested to take charge of the eight, when the operator commands the four which he himself holds to rejoin them. This, also, is found to be accomplished. The operator now hands the twelve to a second spectator, requesting him to hold them tightly. After a moment’s interval, he is requested again to count them, but finds that he has grasped them too tightly, for they are now welded181 together into a solid mass. The performer again takes them, and by merely breathing on them, restores them to their original state.

The student, with the experience which he has by this time gained, will naturally conjecture that the trick is in reality performed with sixteen loose counters, and twelve soldered together; that the performer commenced the trick with four counters palmed in his right hand, which he secretly added to the four which he handed to the spectator; that, taking up the remaining eight, and apparently transferring them from his right hand to his left, he really transferred four only, leaving the remainder in the right hand; and that when he again handed the eight counters to the spectator, he added these last to them. That in apparently transferring the remaining four from hand to hand he palmed them, forthwith dropping them into one of his pochettes, and taking from the same place, or from under his waistband, the solid twelve, which he finally handed to the second spectator in place of the twelve loose counters; again substituting the loose ones, as before, when by breathing on them he professed to restore them to their primitive state.

As the student has so successfully guessed all this, it would be an impertinence on our part to further explain the trick.

The Wandering Sixpence.—Have ready two sixpences, each slightly waxed on one side. Borrow a sixpence, and secretly exchange it for one of the waxed ones, laying the latter, waxed side uppermost, on the table. Let any one draw two cards from any ordinary pack. Take them in the left hand, and, transferring them to the right, press the second waxed sixpence against the centre of the undermost, to which it will adhere. Lay this card (which we will call a) on the table, about eighteen inches from the sixpence which is already there, and cover that sixpence with the other card, b. Lift both cards a little way from the table, to show that the sixpence is under card a, and that there is apparently nothing under card b. As you replace them, press lightly on the centre of card a. You may now make the sixpence appear under whichever card you like, remembering that, if you wish the sixpence not to adhere, you must bend the card slightly upwards in taking it from the table; if otherwise, take it up without bending.

182

The “Heads and Tails” Trick.—This is a pretty little trick, of an unpretending nature, but of very good effect, especially if introduced in a casual and apparently extempore manner. The performer borrows, or produces from his own pocket, four penny-pieces. Placing them upon the table, he requests some one to make a pile of them, all one way, say “tail” upwards. He next requests the same or another person to turn over the pile so made, without disturbing the relative position of the coins, and announces with an air of supernatural knowledge that they will now all be found “head” upwards. This appears so ridiculously obvious, that the audience naturally observe (with more or less straightforwardness of expression) that “any fool could tell that.” “Pardon me,” says the performer, “it is not quite such a simple matter as you think. I very much doubt whether any of you could do as much. I will place the coins again; watch me as closely as you please. I will place them as before—Tail, tail, tail, tail. Is that fairly done? Now I will turn them over.” He does so, letting the tips of his fingers rest upon them. “What are they now?” A general chorus replies, “All heads, of course!” But on examination it is found that only three are “heads,” and one a “tail.” Again he arranges them, placing them this time alternately—head, tail, head, tail. He turns them over. The natural order (beginning from below) would again be head, tail, head, tail; but they are found to be head, tail, tail, tail. Again he places them, tail, tail, tail, head. When turned over they should be tail, head, head, head, but are found to be tail, head, alternately.

The secret lies in the use of a prepared penny, consisting of similar halves (in the case above described two “tails”) soldered together, so183 as to be “tail” on either side. This the performer palms in his right hand. After first going through the operation with the genuine coins, as above, he picks them up with his left hand; and apparently transferring them to the right, really transfers three of them only. He then performs the trick with these and the prepared coin, when the apparently miraculous result above described becomes a matter of course.

It is best not to repeat the trick too often, and a little practice is necessary in order to be able to return the three genuine coins neatly to the left hand (in which the fourth borrowed coin must be retained throughout the trick), at the same time secretly retaining your own. It is a frequent occurrence for one or other of the company, imagining that the seeming wonder is, in some unexplained way, a result of some natural principle, to request to be allowed to try for himself. It is obvious that, under such circumstances, it would not do to hand him the prepared coin, and hence the necessity for some quick and natural method of again getting the four genuine coins together.

The trick may be brought to an effective conclusion as follows: After you have got rid of the double-faced penny, you may continue, “Perhaps it is a little too complicated for you with four coins; suppose we try it with one only, and I won’t even turn it over.” Placing one of the genuine pence on the middle of the right palm, which you hold out horizontally before you, you draw special attention to the fact that the coin is (say) “tail” upwards. Quickly covering it with the other hand, you say, “What is it now?” “Tail,” is the reply. “Wrong again!” you say, and, lifting up the hand, show that the coin has this time vanished altogether. This mysterious disappearance is effected as follows: When you apparently cover the coin with the left hand, you bring the hands together with a quick lateral motion as though sliding the one across the other. This shoots the coin from the palm down the opposite sleeve, the motion being so quick that the keenest eye cannot detect it. This little sleight is by no means difficult, and is well worthy of acquirement, as it may be introduced with equal effect in many tricks.

The Magic Cover and Vanishing Halfpence.—This is a very old trick, but is still very popular with a juvenile audience.184 The principal apparatus consists of half-a-dozen halfpence, of which the centre portion has been cut out, leaving each a mere rim of metal. Upon these is placed a complete halfpenny, and the whole are connected together by a rivet running through the whole thickness of the pile. When placed upon the table, with the complete coin upwards, they have all the appearance of a pile of ordinary halfpence, the slight lateral play allowed by the rivet aiding the illusion. A little leather cap (shaped something like a fez, with a little button on the top, and of such a size as to fit loosely over the pile of halfpence), with an ordinary die, such as backgammon is played with, complete the necessary requirements.

You begin by drawing attention to your magic cap and die, late the property of the king of the fairies. In order to exhibit their mystic powers, you request the loan of half-a-dozen halfpence (the number must, of course, correspond with that of your own pile), and, while they are being collected, you take the opportunity to slip the little cap over your prepared pile, which should be placed ready to hand behind some small object on the table, so as to be unseen by the spectators. Pressing the side of the cap, you lift the pile with it, and place the whole together in full view, in close proximity to the die. The required halfpence having been now collected, you beg all to observe that you place the leather cap (which the spectators suppose to be empty) fairly over the die. Taking the genuine coins in either hand, you pretend, by one or other of the passes, to transfer them to the other. Holding the hand which is now supposed to contain the coins immediately above the cap, you announce that they will at your command pass under the cap, from which the die will disappear to make room for them. Saying, “One, two, three! Pass!” you open your hand, and show that the coins have vanished. If you use a regular table, you may place them on the servante, and show both hands empty; and then, lifting up the cap by the button, you show the hollow pile, covering the die, and appearing to be the genuine coins. Once more covering the pile with the cap, you announce that you will again extract the coins, and replace the die; and to make the trick still more extraordinary, you will this time pass the coins right through the table. Placing the hand which holds the genuine coins beneath the table, and once more saying, “One, two, three!185 Pass!” you chink the coins, and, bringing them up, place them on the table. Again picking up the cap, but this time pressing its sides, you lift up the hollow pile with it, and disclose the die. Quickly transfer the cap, without the pile, to the other hand, and place it on the table, to bear the brunt of examination, while you get rid of the prepared coins.

The trick may be varied in many ways, according to the ingenuity of the performer, but it belongs at best to the “juvenile” school of conjuring, and we have not thought it worth while to waste space in elaborating it.

The Animated Coin, which answers Questions, etc.—This trick is performed in a variety of different ways, some with apparatus, some without. The effect produced is as follows:—The performer borrows a coin, and, after making a few mesmeric passes over it, drops it into a glass upon the table, where it immediately begins to jump about as if alive. The performer then announces that the coin thus mesmerized has the power of fortune-telling, naming chosen cards, predicting the number that will be thrown by a pair of dice, etc. The coin answers “Yes” by jumping three times, “No” by jumping once—according to the approved spiritualistic code of signals. We shall not stay to discuss the questions asked, which are of the same class as those which are generally put to the Magic Bell or Drum, but proceed at once to explain the various modes of producing the movement of the coin.

One plan is for the performer to have a coin of his own, to which is attached a long black silk thread, the other end of which is in the hand of an assistant behind the scenes, or elsewhere out of sight of the audience. This coin is placed on the table in readiness, but concealed from the spectators by some larger object in front of it. When the performer advances to the table with the borrowed coin, he secretly picks up the prepared one, and drops the latter into the glass as being that which he has borrowed. A short, quick jerk of the thread by the assistant will make the coin spring up and fall back again, producing the required chink. It is only necessary to be careful not to jerk the thread so violently as to make the coin fly out of the glass. It is desirable, where practicable, to make the thread pass186 either through a hole in the top of the table, or a ring fixed to its surface and placed immediately behind the glass. This will keep that portion of the thread nearest to the glass perpendicular behind it, in which position it will be completely hidden by the glass, and so be invisible.

Some performers prefer to use the actual coin borrowed. The arrangements in this case are the same as above described, save that the silk thread, instead of having a substitute coin attached to it, has merely a pellet of wax at its end. The performer having handed round the glass for inspection, and standing in front of the table with his left side turned towards the audience, picks up a pellet of wax with his right hand at the same moment that, holding the borrowed coin in his left hand, he begs the spectators to take especial notice that he really uses the borrowed coin, and no other. Having said this, he transfers the coin, by a perfectly natural movement, to his right hand, and pressing against it the waxen pellet, drops it into the glass.

The third and last mode of performing the trick is by means of a special glass, with a hole drilled through its foot. This is placed on a suitable pedestal (see Fig. 82), in which works up and down a steel needle, forming the upper portion of a kind of loose piston, a. The top of the pedestal is covered with green baize, allowing free passage to the needle, which when pushed upward strikes the coin from below, with much the same effect as the thread pulling it from above. This pedestal is only available with one of the mechanical tables which will be described in connection with “stage tricks.” Such tables187 contain, among other contrivances, what are called “pistons,” being small metal rods, which, by pulling a string, are made to rise vertically an inch or so above the surface of the table, sinking down again as soon as the cord is released. The pedestal is placed immediately above one of these, whose movement is in turn communicated to the loose piston in the pedestal, and thence to the coin.

It only remains to be stated how the necessary knowledge for the answers is communicated to the person who controls the movements of the piece. With respect to chosen cards, the cards are either indicated by the wording of the questions, or are agreed on beforehand, the performer taking care to “force” the right ones. The assistant is enabled to predict the throw of the dice by the simple expedient of using a small boxwood vase, in which there are two compartments, in one of which a pair of dice (apparently the same which have just been dropped in haphazard from the top) have been arranged beforehand for the purpose of the trick. The ordinary fortune-telling questions, as to “Which young lady will be married first?” “Which spends most time at her looking-glass?” “Which has most sweethearts?” and so on, are either answered in accordance with previous arrangement, or according to the fancy of the moment. Of course, where a question of this kind is asked, the performer takes care to follow up the question by designating a number of persons in succession, so that a mere “Yes” or “No” may be a sufficient answer.

We shall next proceed to describe three or four pieces of apparatus designed to cause a piece of money to disappear, and therefore well adapted for commencing a coin trick. There are other appliances, more particularly adapted for re-producing a coin. Any of these will be available for the conclusion; the particular combination being at the option of the performer.

The Vanishing Halfpenny Box. To make a Halfpenny vanish from the Box, and again return to it.—This is a little round box, made of boxwood, about an inch deep, and of such diameter that its internal measurement exactly admits a halfpenny; in other words, that if a halfpenny be placed in it, it exactly covers the188 bottom. The top and bottom of the box are lined with some bright-coloured paper, and with it is used a halfpenny, one side of which is covered with similar paper. If therefore this halfpenny be placed in the box with the papered side upwards, the halfpenny is naturally taken to be the bottom of the box, which thus appears empty.

The performer begins by tendering the box for examination, keeping the while the prepared halfpenny palmed in his right hand. When the box has been sufficiently inspected, he borrows a halfpenny from the audience, and secretly exchanges it for his own, taking care that the spectators only see the unprepared side of the latter. He then announces that this box, apparently so simple, has the singular faculty of causing the disappearance of any money entrusted to its keeping, as they will perceive when he places in it the halfpenny he has just borrowed. He places the halfpenny in it accordingly, holding it with the uncovered side towards the audience, but letting it so fall that it shall lie in the box with the papered side upwards. He now puts the lid on, and shakes the box up and down, to show by the rattling of the coin that it is still there. He desires the audience to say when they would wish the coin to leave the box, and on receiving their commands, touches the lid with his wand, and again shakes the box. This time, however, he shakes it laterally, and as in this direction the coin exactly fits the box, it has no room to rattle, and is therefore silent. He boldly asserts that the coin is gone, and opening the box, shows the inside to the spectators, who seeing, as they suppose, the papered bottom, are constrained to admit that it is empty. Once again he closes the box, and touches it with the wand, announcing that he will compel the coin to return. Shaking the box up and down, it is again heard to rattle. Taking off the lid, he turns the box upside down, and drops the coin into his hand. This brings it out with the papered side undermost, and so hidden. Again handing the box to be examined, he exchanges the prepared halfpenny for the one which was lent to him, and which he now returns to the owner with thanks.

A variation may be introduced by causing the borrowed halfpenny to re-appear in some other apparatus, after it has vanished from the box in question. The borrowed coin may, if desired, be marked, in order to heighten the effect of the trick.

189

The Rattle Box. To make a Coin vanish from the Box, though still heard to rattle within it.—This is a useful and ingenious little piece of apparatus. It is an oblong mahogany box, with a sliding lid. Its dimensions are about three inches by two, and one inch in depth externally; internally, it is only half that depth, and the end piece of the lid is of such a depth as to be flush with the bottom. Thus, if a coin be placed in the box, and the box held in such a position as to slant downwards to the opening, the coin will of its own weight fall into the hand that holds the box (see Fig. 83), thus giving the performer possession of it without the knowledge of the audience.

Between the true and the false bottom of the box is placed a slip of zinc, which, when the box is shaken laterally, moves from side to side, exactly simulating the sound of a coin shaken in the box. In its normal condition, however, this slip of zinc is held fast (and therefore kept silent) by the action of a spring also placed between the two bottoms, but is released for the time being by a pressure on a particular part of the outer bottom (the part in contact with the fingers in Fig. 83). A casual inspection of the box suggests nothing, save, perhaps, that its internal space is somewhat shallow in proportion to its external measurement.

The mode of using it is as follows: The performer invites any person to mark a coin, and to place it in the box, which he holds for that purpose as represented in the figure; and the coin is thus no sooner placed in the box than it falls into his hand. Transferring the box to the other hand, and pressing the spring, he shakes it to show by the sound that the coin is still there; then, leaving the box on the table, he prepares for the next phase of the trick by secretly placing the coin, which the audience believe to be still in190 the box, in any other apparatus in which he desires it to be found, or makes such other disposition of it as may be necessary. Having done this, and having indicated the direction in which he is about to command the coin to pass, he once more shakes the box to show that it is still in statu quo. Then, with the mystic word “Pass!” he opens the box, which is found empty, and shows that his commands have been obeyed.

The Pepper-box, for vanishing money.—This is a small tin box, of the pepper-box or flour-dredger shape, standing three to four inches high. (See Fig. 84.) The box portion (as distinguished from the lid), is made double, consisting of two tin tubes sliding the one within the other, the bottom being soldered to the inner one only. By pulling the bottom downwards, therefore, you draw down with it the inner tube, telescope fashion. By so doing you bring into view a slit or opening at one side of the inner tube, level with the bottom, and of such a size as to let a coin, say a two-shilling piece, pass through it easily. (See Fig. 85.) The lid is also specially prepared. It has an inner or false top, and between the true and false top a loose bit of tin is introduced, which rattles when the box is shaken, unless you at the same time press a little point of wire projecting from one of the holes at the top, and so render it, for the time being, silent.

The box is first exhibited with the inner tube pushed up into its place, and the opening thereby concealed. A marked coin is borrowed, but either before or after the coin is placed therein, as may best suit his purpose, the performer secretly draws out the inner tube a quarter of an inch or so, thus allowing the coin to slip through into his hand. As he places the box on the table, a very slight pressure suffices to force the tube up again into its original position, and close the opening. Having made the necessary disposition of the coin, the performer takes up the box, and shakes it, to show (apparently) that the coin is still there, pressing on the little point above mentioned191 when he desires it to appear that it has departed, and immediately opening the box to show that it is empty. The pepper-box will not bear minute inspection, and is in this particular inferior to the rattle-box.

The Brass Money-box, for the same purpose.—This is on a similar principle to that of the pepper-box, but has no rattle movement, and is not adapted for any coin of larger size than a shilling. Its shape will be best understood from an examination of the diagrams. (See Figs. 86, 87.) It has no moveable lid, but merely a slit in the top, just large enough to admit the coin, which, when once dropped in, cannot be got out again without a knowledge of the secret.

This, like the pepper-box, consists of two tubes one within the other; but the inner tube is firmly soldered to the two end pieces, a and b, which are solid. The only moveable portion is the outer tube c, which is so arranged as to slide upwards (within a) for about an eighth of an inch, thereby disclosing the opening of the inner tube, and allowing the coin to slip through. Fig. 87 represents the box with the slit open, and Fig. 86 with it closed.

Some little practice is required to use the money-box with dexterity. The performer should hold it tightly by the middle between the finger and thumb of his right hand, taking care that the side on which the secret opening is shall lie toward the inside of his hand. As he drops the coin through the slit, he should press lightly on the top with the fingers of the left hand, and at the same time push c upwards with the right hand. The coin will now slip through into his hand, while a slight downward pressure as he replaces the box on the table will again push down c, and make all close as before. If the performer prefers to use one hand only, he should press downwards on the top with the first finger, at the same time pressing upwards with the second finger and thumb.

192 There are various ways of using this little apparatus. It may either be used as above, as a means of surreptitiously gaining possession of a coin, to be afterwards produced in some other apparatus, or it may be used by itself singly, the coin being made apparently to fall through the bottom at the will of the performer. It may also be used as a puzzle, its secret being so well concealed that it will bear a very minute examination without discovery.

The Brass Box for Money, known as the “Plug-box.”—This is a piece of apparatus so ingenious in construction, and capable of being used in so many different ways, that we should recommend the student of magic to make it one of his first investments. It is about three inches in height, and one and a half in diameter, and is composed of four separate parts. See Fig. 88, in which a represents the outside or body of the box, being in reality a mere brass tube open at both ends, with a moveable bottom, b, which fits tightly in the end of a, appearing when in its place to be a fixture, and to form with a one complete whole; a has no lid, properly so called, but is closed by inserting in it what appears to be a solid brass plug or piston. This plug, however, though in appearance solid, also consists of two parts—the plug proper, c, which is really solid, and a brass sheath, d, exactly fitting it as to its diameter, but a quarter of an inch longer, thus leaving, when c is placed in d, and pushed home, a hollow space at the bottom of d capable of containing a florin or half-crown. The sheath d is of precisely the same length as a, and is so made as to fit easily upon c, but tightly within a. When the plug-box is exhibited to the audience, the bottom, b, is in its proper place, and c, which is shown apart from a, is covered with its sheath, d. There being nothing in its appearance to point to any other conclusion, the spectators naturally believe that the apparatus consists of those two parts only. If now the plug be placed within193 the box, and pushed home, the moveable bottom, b, will be pressed out, and fall into the hand of the performer. On again withdrawing the plug, the sheath d, which, as already mentioned, fits more tightly within a than upon c, is left within a; the bottom of d, which comes exactly flush with the lower edge of a, now appearing to be the bottom of the latter. To the eyes of the audience, the box is exactly as they saw it at first, and it may even be examined pretty freely, with little risk of its secret being discovered by any one.

The plug-box may be used in a variety of different ways—to vanish, reproduce, or exchange. For the first purpose, the coin to be got rid of is dropped into a. When the plug is inserted, and pressed home, the coin falls, with b, into the hand of the performer; and on the plug being again withdrawn, nothing is seen but the interior of d, which is of course empty. Where it is desired to use the box for the purpose of reproducing a coin, such coin is placed beforehand within d. The box is first shown empty, but has only to be closed and re-opened, and the coin is found within it. For exchanges, the substitute is placed in d, and the genuine coin in a. This latter falls out with the bottom, and the substitute is in due course discovered. A half-crown may thus be changed to a penny, or a sovereign to a shilling.

But the chief use of the plug-box is as an auxiliary in those more important tricks in which the coin, apparently remaining up to the last moment in the spectator’s own possession, is suddenly made to appear in some quarter to which (if it had really so remained) it could not possibly have been transported by natural means. The performer in this case places a similar coin beforehand in d. Dropping, or allowing the owner to drop, the marked coin into a, he closes the box, which he shakes to prove that the coin is really there. Giving the box to some one to hold, he is then enabled, without exciting the smallest suspicion, to retire, and make what disposition he pleases of the marked coin, which he has thus got into his own possession. When he has completed his arrangements, he again takes the box, and, opening it, takes out the substitute, which the audience naturally believe to be the genuine coin; and getting rid of this by sleight-of-hand or otherwise,194 passes the coin (at that very moment, so far as the audience can judge) to the place where it is ultimately destined to be found.

A favourite mode of using the plug-box is as follows:—A coin (say a florin) is wrapped in a small piece of paper, after which the coin is taken out and the paper again folded in such a manner as to retain the impression of the coin, and so to look, as far as possible, as if still containing it. The paper thus folded is placed beforehand in d, and the performer, borrowing a florin, requests the owner to wrap it carefully in a piece of paper, which he hands him for the purpose, and which is similar in size and general appearance to the folded piece. The florin, thus wrapped up, is placed in a, and the box closed, the performer thus gaining possession of paper and coin. The box is then handed to the owner of the money, who is asked to open it and see for himself that his money is still there. Seeing the folded paper, which he takes to be the same in which his money was wrapped, he answers in the affirmative. The box is again closed, the coin, meanwhile, being disposed of according to the pleasure of the operator—the owner finding on a closer examination that his money has departed from the box, though the paper in which it was wrapped (as he imagines) still remains.

The Handkerchief for Vanishing Money.—This is another appliance for vanishing a coin. It is an ordinary handkerchief of silk or cotton, in one corner of which, in a little pocket, is sewn a coin, say a florin or a penny, or any substitute which, felt through the substance of the handkerchief, shall appear to be such a coin. The mode of using it is very simple. Holding the handkerchief by the corner in which is the coin, and letting it hang loosely down, the performer borrows a similar coin, and, after carelessly shaking out the handkerchief, to show that all is fair, he places, to all appearance, the borrowed coin in the centre (underneath), and gives the handkerchief to some one to hold. In reality, he has only wrapped up the corner containing the substitute coin, and retains the genuine one for his own purposes. When it is desirable to make it appear that the coin has left the handkerchief, he simply takes it from the person holding it, and gives it a shake, at the same moment rapidly running the edges195 of the handkerchief through his hands, till the corner containing the coin comes into one or the other of them.

The Demon Handkerchief (Le Mouchoir du Diable).—This is a recent improvement on the above, and possesses a much wider range of utility, inasmuch as it really does cause the disappearance of any article placed under it, and is available to vanish not only coin, but a card, an egg, a watch, or any other article of moderate size. It consists of two handkerchiefs, of the same pattern, stitched together all round the edges, and with a slit of about four inches in length cut in the middle of one of them. The whole space between the two handkerchiefs thus forms a kind of pocket, of which the slit above mentioned is the only opening. In shaking or otherwise manipulating the handkerchief, the performer takes care always to keep the side with the slit away from the spectators, to whom the handkerchief appears to be merely the ordinary article of everyday use. When he desires by its means to cause the disappearance of anything, he carelessly throws the handkerchief over the article, at the same time secretly passing the latter through the slit in the under side, and hands it thus covered to some one to hold. Then, taking the handkerchief by one corner, he requests him to let go, when the object is retained in the space between the two handkerchiefs, appearing to have vanished into empty air.

This, like the plug-box, is an appliance which no conjuror should be without. It may be purchased ready-made at any of the depôts for magical apparatus, or may be of home-manufacture, which in this case (contrary to the general rule) is not unlikely to produce the better article.

The Davenport Cabinet.—This little cabinet must by no means be confounded with the wardrobe in which the notorious Brothers performed their mystic evolutions. The cabinet now in question is but four inches high and two and a half square, and consists of two parts, an outer case, or body, covered at the top, but otherwise open throughout, and a drawer, occupying the upper portion of its interior space. (See Fig. 89.) When the drawer is removed, the case, which has no bottom, may be examined throughout,196 and will be found to be perfectly plain and unsophisticated; save that a keen examiner might observe a little brass pin, a quarter of an inch long, projecting from the back of the cabinet on the inside, just on a level with the bottom of the drawer when replaced in its proper position. The drawer may also be examined, and will be found to be perfectly plain, with the bottom (which is so thin as to preclude any suspicion of a concealed space), covered within and without with black cloth. On turning the drawer round, and examining the back, a minute hole may be discovered, corresponding in situation with the brass pin already mentioned. If a pin be thrust into this hole, the purpose of the two is immediately manifest; for the pressure of the pin releases a tiny catch, and allows the bottom of the drawer, which is in reality only supported by this catch at the back and a cloth hinge in the front, to drop into the position indicated in Fig. 90. This is precisely what takes place when the drawer, being restored to its proper position in the cabinet, is duly closed. The pressure of the brass pin at the back releases the catch, and the bottom of the drawer falls as just described, and allows any article which may have been placed therein to drop into the hand of the person holding the cabinet. (See Fig. 91.) The act of pulling out the drawer again presses the bottom up to its proper place, where it is secured by the catch until once more released by the pressure of the pin. The strong point of this ingenious little apparatus is that it is absolutely self-acting, and its secret can only be detected by examining the cabinet from below at the moment when the drawer is pushed home; and this it is easy to prevent by the simple expedient of handing each portion separately for inspection.

The performer begins by handing first the cabinet and then the drawer for examination. Then, placing the cabinet on the palm of197 his hand, he invites any one of the audience to deposit any small article, a coin, a ring, a watch, etc., in the drawer, and to replace the drawer in the cabinet. As soon as the drawer is closed, the article drops through into his hand. Taking hold of the cabinet with the other hand (lifting it by the top only, and with the very tips of his fingers, so as to preclude all apparent possibility of deception), he places it on the table or elsewhere, in full view. Having thus gained possession of the borrowed article, he concludes the trick by reproducing it in any manner he thinks proper.

We have thus far discussed pieces of apparatus more especially designed to cause the disappearance of a coin, and thus adapted for use in the first stage of a trick. We shall next consider such as are intended to reproduce, under more or less surprising circumstances, the coin thus got rid of, such reproduction forming the second stage, or dénouement.

The Nest of Boxes.—This consists of a number, generally six, but sometimes more, of circular wooden boxes, one within the other, the largest or outer box having much the appearance, but being nearly double the size, of an ordinary tooth-powder box, and the smallest being just large enough to contain a shilling. The series is so accurately made, that by arranging the boxes in due order one within the other, and the lids in like manner, you may, by simply putting on all the lids together, close all the boxes at once, though they can only be opened one by one.

These are placed, the boxes together and the lids together, anywhere so as to be just out of sight of the audience. If on your table, they may be hidden by any more bulky article. Having secretly obtained possession, by either of the means before described, of a coin which is ostensibly deposited in some other piece of apparatus, e.g., the Davenport Cabinet, you seize your opportunity to drop it into the innermost box, and to put on the united lids. You then bring forward the nest of boxes (which the spectators naturally take to be one box only), and announce that the shilling will at your command pass from the place in which it has been deposited into the box which you hold in your hand, and which you forthwith deliver to one198 of the audience for safe keeping. Touching both articles with the mystic wand, you invite inspection of the first to show that the money has departed, and then of the box, wherein it is to be found. The holder opens the box, and finds another, and then another, and in the innermost of all the marked coin. Seeing how long the several boxes have taken to open, the spectators naturally infer that they must take as long to close, and (apart from the other mysteries of the trick), are utterly at a loss to imagine how, with the mere moment of time at your command, you could have managed to insert the coin, and close so many boxes.

If you desire to use the nest for a coin larger than a shilling, you can make it available for that purpose by removing beforehand the smallest box. Nests of square boxes, with hinged lids and self-closing locks, are made, both in wood and in tin, on the same principle. These are designed for larger articles, and greatly vary in size and price.

The Ball of Berlin Wool.—An easy and effective mode of terminating a money trick is to pass the marked coin into the centre of a large ball of Berlin wool or worsted, the whole of which has to be unwound before the coin can be reached. The modus operandi, though perplexing to the uninitiated, is absurdly simple when the secret is revealed. The only apparatus necessary over and above the wool (of which you must have enough for a good-sized ball), is a flat tin tube, three to four inches in length, and just large enough to allow a florin or shilling (whichever you intend to use for the trick) to slip through it easily. You prepare for the trick by winding the wool on one end of the tube, in such manner that when the whole is wound in a ball, an inch or so of the tube may project from it. This you place in your pocket, or anywhere out of sight of the audience. You commence the trick by requesting some one to mark a coin, which you forthwith exchange, by one or other of the means already described, for a substitute of your own, and leave the latter in the possession or in view of the spectators, while you retire to fetch your ball of wool, or simply take it from your pocket. Before producing it, you drop the genuine coin down the tube into the centre of the ball, and withdraw the tube, giving the ball a squeeze to199 remove all trace of an opening. You then bring it forward, and place it in a glass goblet or tumbler, which you hand to a spectator to hold. Taking the substitute coin, you announce that you will make it pass invisibly into the very centre of the ball of wool, which you accordingly pretend to do, getting rid of it by means of one or other of the Passes described in Chapter VI. You then request a second spectator to take the loose end of the wool, and to unwind the ball, which, when he has done, the coin falls out into the goblet.

The only drawback to the trick is the tediousness of the process of unwinding. To obviate this, some performers use a wheel made for the purpose, which materially shortens the length of the operation.

The Glass Goblet and Cover.—This apparatus consists of an ordinary glass goblet, of rather large size, with a japanned tin cover, in shape not unlike the lid of a coffee-pot, but of sufficient height to contain, in an upright position, a couple of florins or half-crowns. These are placed side by side in a flat tube, just large enough to admit them, fixed in a slightly sloping position in the upper part of the cover, and divided in two by a tin partition. Across the lower end of this tube is a tin slide, which, in its normal condition, is kept closed by the action of a spring, but is drawn back whenever a knob on the top of the cover is pressed down. If a slight pressure be applied, one coin only is released; but if the knob be still further pressed down, the second also falls. The mechanism of the cover is concealed by a flat plate or lining, also of tin, soldered just within it, with an oblong opening just large enough to admit of the passage of the coins. The inside of the cover is japanned black, the outside according to the taste of the maker.

You take care not to bring on the goblet and cover until you have, by substitution, gained possession of the two marked coins which you have borrowed for the purpose of the trick. Retiring to fetch the glass and cover, you prepare the latter by inserting the marked coins. This you do by holding the cover upside down, pressing the knob (thus drawing back the spring slide), and dropping the coins into their receptacle. On removing the pressure on the knob, the slide returns to its normal position. You then bring forward the200 goblet and cover, and place them on the table. Holding the goblet upside down, to show that it is empty, you place the cover over it, ostensibly to prevent anything being secretly passed into it, and, for still greater security, throw a handkerchief, borrowed for that purpose, over the whole. You now announce that, notwithstanding the difficulties which you have voluntarily placed in the way, you will pass the two marked coins through the handkerchief, and through the metal cover into the glass. Taking in your right hand one of the substitutes, which have all along remained in sight, and which the audience take to be the genuine coins, you pretend by Pass 1 to transfer it to your left, and pressing gently on the knob with the last-mentioned hand, cause one of the marked coins to drop from the cover, at the same moment opening the hand to show that the coin has left it. The audience hear, though they do not see, the fall of the coin. With the second coin it is well to introduce an element of variety, and you may therefore offer to dispense with the handkerchief, that all may see as well as hear the coin arrive. As a further variation, you may use your wand as the conducting medium. Taking the substitute coin in the left hand, you apparently, by Pass 4, transfer it to your right. Then taking the wand in the left hand, you hold it perpendicularly, with its lower end resting upon the knob of the cover. Holding it with the thumb and second finger of the right hand, one on each side of it, you draw them smartly downwards, at the same time pressing with the wand on the knob, when the second coin will be seen and heard to fall into the glass. Taking off the cover, and leaving it on the table, you bring forward the glass, and allow the owners to take out and identify the coins.

It is a great addition to have a second cover, similar in appearance to the first, but hollow throughout, and without any mechanism. You are thus enabled to hand both goblet and cover for examination before performing the trick. As you return to your table, your back being towards the spectators, you have ample opportunity for substituting the mechanical cover, the plain one being dropped either into one of your profondes, or on to the servante of your table.

The Glass without Cover, for Money.—This is of tumbler shape, without foot, and of green or other dark-coloured glass,201 so that it is semi-opaque. In this instance no cover is used, and the borrowed coins are not seen, but merely heard, to drop into the glass, where they are found in due course.

The secret of the glass lies in a false bottom of tin, working on a hinge, and held down by a catch worked by a pin through the bottom of the glass, and flying up with a spring when released. The performer, having gained possession of three or four borrowed coins by either of the means before mentioned, retires to fetch the glass, and takes the opportunity to place the coins beneath the false bottom. He then comes forward, glass in hand. He does not offer the glass for examination, but turns it upside down, and rattles his wand inside it, showing, ostensibly, that it is empty. Having done this, he places it on his table, as near the back of the stage as possible, at the same time moving the catch, and so releasing the false bottom, which naturally flies up, and uncovers the concealed coins. Standing at a considerable distance from the glass, he takes one by one the substitutes, which to the eyes of the audience represent the genuine coins, and gets rid of them by one or other of the various passes, saying as each one apparently vanishes from his hand, “One, two, three—Pass!” At the same moment the sound of a falling coin is heard, proceeding apparently from the glass, but really from behind the scenes, or any other available spot out of sight, where an assistant, placed as near to the glass as circumstances will admit, drops another coin into another glass. If the position of the assistant, with reference to the audience, is pretty nearly in a straight line with the glass which they see, the illusion will be perfect. When all the coins are supposed to have passed in this manner, the performer, advancing to the glass, pours out, either upon a tray or upon his open palm, the borrowed coins, and leaving the glass upon the table, comes forward, and requests the owners to identify them.

We have thus far described eight different contrivances for vanishing money, and (including the “plug-box,” which may be used in both ways) five for reproducing it. It is obvious that either of the first may be used in combination with either of the second, producing some fifty different effects. By the use of sleight-of-hand in place of apparatus at either stage of the trick, still more numerous variations202 may be produced, and these may be still further multiplied by the use of other appliances to be hereafter described, which, though of less general utility, may be occasionally introduced with excellent effect. The apparatus which we shall next describe is one which is very frequently used in combination with that last mentioned. It is known as

The Miraculous Casket.—This is a neat leather- or velvet-covered box, about three inches by two, and two and a half high. When opened, it is seen to be filled with a velvet cushion or stuffing, after the manner of a ring-case, with four slits, each just large enough to admit a half-crown or florin. (See Fig. 92.) By an ingenious mechanical arrangement in the interior, which it would take too much space to describe at length, each time the box is closed one of the coins is made to drop down into the lower part, and on the box being reopened is found to have vanished.

The casket may be used in many tricks with good effect. In combination with the magic glass, last above described, it is employed as follows:—The four coins which have been substituted for the genuine ones are placed, in sight of all, in the magic casket, which is then closed, and handed to one of the audience to hold. The performer then states that he is about to order the four coins now in the casket to pass one by one into the glass upon the table. “One!” he exclaims. A coin is heard to fall into the glass. The person who holds the casket is requested to open it; three coins only are left. It is again closed, and the performer says, “Two!” Again the chink of the falling coin is heard, and another coin is found to have disappeared from the casket. The operation is repeated till all have vanished, and the operator pours forth from the glass four coins, which, on examination, are found to be the same which were originally borrowed, and which the audience believe that they saw placed in the casket.

203 The casket may also be used with capital effect in conjunction with

The Half-crown (or Florin) Wand.—This is a wand, apparently of ebony, but really of brass, japanned black. It is about twelve inches in length, and five-eighths of an inch in diameter. On one side of it, and so placed as to be just under the ball of the thumb when the wand is held in the hand, is a little stud, which moves backwards and forwards for a short distance (about an inch and a quarter), like the sliding ring of a pencil-case. When this stud is pressed forward, a half-crown or florin, as the case may be, appears on the opposite end of the wand (see Fig. 93), retiring within it when the stud is again drawn back. The half-crown is a genuine one, but is cut into three portions, as indicated in Fig. 94, which represents a transverse section of it at right angles to the actual cuts. Each of the three segments is attached to a piece of watch-spring, and from the direction of the cuts it is obvious that, when these pieces of watch-spring are pressed together (as they naturally are when drawn back into the wand), c will be drawn behind, and a in front of b. (See Fig. 95.)

The wand is used as follows:—The performer palms in his left hand as many half-crowns as he intends to produce. Then, taking the wand in the right hand, and lightly touching with it the spot whence he desires to (apparently) produce a half-crown, he pushes forward the stud, and the split coin appears on the opposite end of the wand. He now draws the upper part of the wand through the left hand, at the same moment pressing back the stud, and causing the split coin to retire within the wand, immediately handing for examination with the left hand one of the half-crowns already placed there, and which by this gesture he appears to have just taken204 from the top of the wand. This is again repeated, and another half-crown exhibited, till the stock in the left hand is exhausted.

It is desirable, on each occasion of pressing forward or withdrawing the stud, to place the opposite end of the wand in such a situation as to be a little shielded from the eyes of the spectators, so that they may not see the actual appearance or disappearance of the coin. A very slight “cover” will be sufficient. The end of the wand may be placed within a person’s open mouth (and withdrawn with the half-crown thereon), within a pocket, or the like. Where no such cover is available, a quick semi-circular sweep should be made with the wand as the coin is protruded or withdrawn.

With the aid of this wand the passage of the four half-crowns from the casket to the glass, just described, becomes still more effective. The four substitute half-crowns having been placed in the casket, and the latter closed, the performer announces that he will withdraw them visibly, one by one, and will then invisibly pass them into the glass. Further, to prove that the trick is not performed by any mechanical or physical means, he will not even take the casket in his hand, but will withdraw the coins one by one with his wand, and thence pass them direct into the glass. Touching the casket with the wand, he presses the stud, and shows the half-crown on the end. Apparently taking off the coin with his left hand, as before described (the hand, however, being in this case empty), he makes the motion of throwing the coin from the hand to the glass, saying, “Pass!” The sound of a falling coin is heard (as already explained), and he shows that his hand is empty, the same process being repeated as to the remaining coins.

The wand may also be effectively introduced in the trick of the Shower of Money, which next follows. After having caught in the ordinary manner such number of coins as he thinks fit, the performer perceives, or pretends to perceive, that the audience suspect that the coins are in some manner concealed in his right hand. To show that this is not the case, he offers to catch a few coins on the top of his wand instead of in his hand, and finishes the trick by producing two or three on the wand accordingly. Wherever you can, as in this instance, produce the same result by two wholly different methods the effect on the audience is most bewildering. Their conjectures205 as to the explanation of the first method being inadmissible as to the second, and vice versâ, the more they puzzle over the matter, the further are they likely to be from a correct solution.

The Shower of Money.—The magical phenomenon known under this name surpasses the philosopher’s stone, in the pursuit of which so many of the wise men of old expended their lives and fortunes. The alchemist’s secret aimed only at producing the raw material, but the magician’s quick eye and ready hand gather from space money ready coined. Unfortunately, the experiment is subject to the same drawback as the more ancient process—viz., that each twenty shillings produced cost precisely twenty shillings, leaving hardly sufficient profit to make this form of money-making remunerative as a commercial undertaking.

The effect of the trick is as follows:—The performer borrows a hat, which he holds in his left hand. Turning up his sleeves, he announces that he requires a certain number, say ten, of florins or half-crowns. The spectators put their hands in their pockets with the idea of contributing to the supposed loan; but the professor, anticipating their intention, says, “No, thank you; I won’t trouble you this time. There seems to be a good deal of money about tonight; I think I will help myself. See, here is a half-crown hanging to the gaselier. Here is another climbing up the wall. Here is another just settling on this lady’s hair. Excuse me, sir, but you have a half-crown in your whiskers. Permit me, madam; you have just placed your foot on another,” and so on. At each supposed new discovery the performer takes with his right hand, from some place where there clearly was nothing an instant before, a half-crown, which he drops into the hat held in his left hand, finally turning over the hat, and pouring the coins from it, to show that there has been “no deception.”

The explanation is very simple, the trick being merely a practical application of the art of “palming,” though its effect depends on the manner and address of the operator even more than on his skill in sleight-of-hand. The performer provides himself beforehand with ten half-crowns. Of these he palms two in his right hand, and the remainder in his left. When he takes the hat, he holds it in the206 left hand, with the fingers inside and the thumb outside, in which position it is comparatively easy to drop the coins one by one from the hand into the hat. When he pretends to see the first half-crown floating in the air, he lets one of the coins in his right hand drop to his finger-tips, and, making a clutch at the air, produces it as if just caught. This first coin he really does drop into the hat, taking care that all shall see clearly that he does so. He then goes through a similar process with the second; but when the time comes to drop it into the hat, he merely pretends to do so, palming the coin quickly in the right hand, and at the same moment letting fall into the hat one of the coins concealed in his left hand. The audience, hearing the sound, naturally believe it to be occasioned by the fall of the coin they have just seen. The process is repeated until the coins in the left hand are exhausted. Once more the performer appears to clutch a coin from space, and showing for the last time that which has all along been in his right hand, tosses it into the air, and catches it visibly in the hat. Pouring out the coins on a tray, or into the lap of one of the company, he requests that they may be counted, when they are found to correspond with the number which he has apparently collected from the surrounding atmosphere.

Some performers, by way of bringing the trick to a smart conclusion, after they have dropped in all the coins, remark, “The hat begins to get heavy,” or make some similar observation, at the same time dipping the right hand into the hat, as if to gauge the quantity obtained; and, giving the money a shake, bring up the hand with four or five of the coins clipped breadthwise against the lowest joints of the second and third fingers. Then pretend to catch in quick succession that number of coins, each time sliding one of the coins with the thumb to the finger-tips, and tossing it into the hat.

It is by no means uncommon to see a performer, after having apparently dropped two or three coins into the hat in the ordinary way, pretend to pass in one or more through the side or crown. This produces a momentary effect, but it is an effect purchased at the cost of enabling an acute spectator to infer, with logical certainty, that the coin seen in the right hand was not the same that was, the moment afterwards, heard to chink within the hat; and this furnishes a distinct clue to the secret of the trick.

207 It is obvious that, in the above form of the trick (which so far should be classed among “tricks without apparatus”), the performer cannot show the inside of his hands; and it is not uncommon to find an acute observer (particularly where the performer is guilty of the indiscretion we have just noted) so far hit upon the true explanation, as to express audibly a conjecture that the money which the performer catches is really the same coin over and over again. There is, however, a mechanical appliance known as the “money-slide,” which is designed to meet this difficulty, and to enable the performer still to catch the coin, though he has but a moment before shown that his hand is empty.

The money-slide is a flat tin tube, about eight inches in length, an inch and a quarter in width, and of just such depth as to allow a half-crown or florin (whichever coin may be used) to slip through it freely, edgeways. It is open at the top, but is closed at the lower end by a lever, acting like the lever of a shot-pouch. (See Fig. 96, which shows the external appearance of the tube, and Fig. 97, which represents, on a somewhat larger scale, a section of its essential portion.) The normal position of the lever (which works on a pivot, a) is as shown in Fig. 97, being maintained in that position by a small spring. Under such circumstances, the passage of the tube is barred by the pin d (which works through a small hole in the face of the tube); but if ac, the longer arm of the lever, be pressed down, the pin d is withdrawn, but the extreme lower end of the tube is for the moment barred by the bent end of ac. The pressure being withdrawn, the lever returns to its former condition. When required for use, four or five half-crowns are dropped into the tube from the upper end, and the tube is fastened, by a hook affixed to it for that purpose, inside the waistcoat of the performer, so that its lower end hangs just above the waistband, the lever side of the tube being next the body. If the tube be lightly pressed through the waistcoat, the longer arm of the lever is thereby208 pressed down. The pin d is lifted, and the row of half-crowns slide down to the bottom of the tube, where, however, they are arrested by the bent end of ac. As soon as the pressure is removed, the lever returns to its position. The mouth of the tube is left open, and the first of the half-crowns drops out, and would be followed by the others, but the pin, d, which at the same moment returns to its position across the tube, stops their further progress. Thus each time the lever is pressed and again released, one half-crown, and one only, drops out at the mouth of the tube.

The use of this appliance in the trick we have just described will be obvious. The performer, having turned up his sleeves to prove that they have no part in the matter, shows that his right hand is absolutely empty. Continuing his observations, his hand rests for a moment with a careless gesture against his waistcoat, the ball of the wrist being above and the fingers below the waistband. A momentary pressure causes a half-crown to fall into his hand. This he palms, and in due course proceeds to catch, as already described.

As the capacity of the slide is limited, and the same gestures frequently repeated would be likely to excite suspicion, it is best to begin the trick in the ordinary manner, and after having produced three or four coins in this way, to overhear, or pretend to overhear, a suggestion that the coin is all the while in your hand. Ostentatiously throwing the coin with which you have so far worked, into the hat, you draw special attention (not in words, but by gesture) to your empty hand (the left hand is never suspected), and then have recourse to the slide. You throw the coin thus obtained into the hat, and again show your hand empty. You produce another coin from the slide, and make this serve you for the next two or three catches, and so on, as circumstances may dictate.

The money magically caught as above may be used for the trick of the Multiplication of Money, described at page 176, the two forming a natural and effective sequence.

The Vanishing Plate, or Salver.—This is a most useful and ingenious piece of apparatus. In appearance it is an ordinary japanned tin tray, of about ten inches in diameter; but it has the faculty of causing money placed upon it to disappear in a most surprising209 manner. A number of coins, collected from the company, are placed upon the salver. The performer, standing but a few feet from the spectators, openly takes them off one by one, but each, as his fingers grasp it, vanishes utterly. His sleeves (which in conjuring come in for a vast amount of undeserved suspicion) may be rigorously examined; but even though, as a concession to popular prejudice, he should bare his arm to the shoulder, the result would still be the same.

A closer inspection of the salver (which the performer takes good care not to permit) would reveal the fact, that though apparently consisting, like any other, of only one thickness of metal, it is in reality made double, allowing sufficient space between its upper and under surface for the concealment of any number of coins laid singly. The centre portion of the upper surface, though apparently of a piece with the rest, is in reality moveable, though pressed upwards and kept in its place by the action of four small springs. When the performer apparently picks up a coin (which he takes care shall be on this centre portion), he presses smartly upon it, at the same moment drawing it sharply towards the outer rim. The moveable portion of the salver yielding to the pressure, the effect is as shown in the figure (Fig. 98), and the coin is shot under the outer rim, between the upper and under surface of the salver, the moveable portion rising again to its place as soon as the momentary pressure is removed. The tray is japanned in such manner that the circular lines of the pattern correspond with the outline of the moveable portion, and will bear any amount of mere ocular inspection, so long as it is not permitted to be handled.

The vanishing salver may be introduced with good effect in many210 tricks, as, for instance, that of the Multiplication of Money, above referred to, the coins to be magically added being placed upon the salver, whence they are taken off one by one, and commanded to pass into the hands of the person who holds the money. It may also be advantageously used in conjunction with the glass described at page 201, each coin, as it vanishes from the salver, being heard to drop into the glass.

The “Changing” Plate.—The student has already been made acquainted with various methods of exchanging a marked coin, etc., for a substitute. There are still one or two appliances for this purpose remaining to be described, all taking the form of metal plates or trays, but greatly varying in their construction.

The first, which we only mention for the sake of completeness, as it is now superseded by later and better inventions, consists of a small circular tin tray, with a round hole or well in the centre, of about an inch and a half in diameter and a quarter of an inch in depth. The lines of the pattern are so arranged as to make this cavity as little noticeable as possible. The well is moveable, forming, in fact, a portion of a sliding piece below the tray, in which sliding piece two such wells are excavated, the one or the other in turn corresponding to the opening in the tray, according as the sliding piece is pushed backwards or forwards. When the tray is required for use, the substitute coin is placed beforehand in one of the two wells, which is then pushed out of sight, and the other brought below the opening. The borrowed coin is received on the plate, and allowed to drop into the empty well. As soon as this is done, the operator, with his forefinger, which is naturally beneath the plate, draws back the slide, and brings the other coin in sight, while the genuine one drops into his hand. The construction of the plate, though simple enough in itself, is a little difficult to explain; but as we only allude to it in order to counsel the student to avoid it, any obscurity in our description is of little importance.

The instrument now used for the same purpose is known as the French changing-plate, and may be described as a combination of the vanishing salver (page 209) and the multiplying money-plate (page 177). It is round, and has beneath it a flat tube similar to that of211 the multiplying plate; and it is in this tube that the substitute coins are placed. The upper surface of the plate is similar in appearance to that of the vanishing plate; but in this case the centre portion is divided across the middle, and one half only is moveable, sinking downwards to the depth of a quarter of an inch all along the dividing line, whenever pressure is applied to a particular portion of the under surface of the plate. The coins to be changed are received by the operator on this moveable portion, and immediately handed to some person to hold, the performer sloping the plate, and (apparently) pouring the coins into the hands or hat held out to receive them. In reality, in the act of sloping the plate, he depresses the moveable portion of the surface, and, as a natural consequence, the coins, instead of sliding, as they appear to do, right off the plate, slip between the upper and under surface, while the substitutes fall from the tube below into the hands of the person who is to take charge of them. The whole movement is so rapid, and the fall of the substituted coins coincides so exactly with the disappearance of the genuine ones, that the eye is completely deceived. The tray, having apparently served its purpose, is carried off by the magician or his servant, with ample opportunity to make any necessary disposition of the genuine coins.

A still later improvement is that which is known as

The Tray of Proteus.—The tray to which the inventors (Messrs. Hiam & Lane) have given the above high-sounding title, is the latest, and not the least ingenious, of the series of magical trays.

The tray in question will not only change, but add, subtract, or vanish coins, under the very eyes of the spectators. In form it is an oblong octagon, measuring eight inches by six, and standing about three-quarters of an inch high. (See Fig. 99.) It is divided across the centre, and one half of the centre portion is moveable in the same manner as in the case of the tray last described, save that in this instance the depth between the upper and under surface of the tray being greater, this moveable portion is depressible to a proportionately greater depth. The opposite or fixed side of the tray is divided horizontally (see Fig. 100, representing a longitudinal section) into two levels or platforms, a and b, the lower, b, having a raised edge. Where the tray is to be used for the purpose of “changing,”212 the coins to be substituted are placed in a row on the upper platform, a. The genuine coins are placed by the performer, holding the tray as indicated in Fig. 99, on the moveable flap, c. Slightly lowering the opposite end of the tray, he presses the button d, thus sloping the flap c, and the coins naturally slide into b. Still keeping the flap open, he now tilts up the opposite end of the tray. The genuine coins cannot return, by reason of the raised edge of b; but the substitute coins in their turn slide out upon c, which is then allowed to return to its original position. The necessary movement, though comparatively tedious in description, is in skilful hands so rapid in execution that, where coins of the same kind are substituted—e.g., half-crowns for half-crowns—the most acute spectator cannot detect that any change has taken place. A most startling effect is produced by substituting coins of a different kind, as pence for half-crowns, the coins appearing to be transformed by a mere shake into a different metal. The change involving a double process—viz., the disappearance of certain coins and the appearance of others—it is obvious that the tray will be equally available for either process singly. Thus coins placed upon the tray may be made to instantly vanish, or, by reversing the process, coins may be made to appear where there was nothing a moment previously. In like manner, a given number of coins may be increased to a larger, or decreased (in this case really changed) to a smaller number.

This tray has not, like that last described, any additional flat tube beneath the tray, but one end of a and b is closed by a little slide, hidden beneath the edge of the tray, to allow of the money therein being extracted when necessary.

213

To indicate on the Dial of a Watch the Hour secretly thought of by any of the Company.—The performer, taking a watch in the one hand, and a pencil in the other, proposes to give a specimen of his powers of divination. For this purpose he requests any one present to write down, or, if preferred, merely to think of, any hour he pleases. This having been done, the performer, without asking any questions, proceeds to tap with the pencil different hours on the dial of the watch, requesting the person who has thought of the hour to mentally count the taps, beginning from the number of the hour he thought of. (Thus, if the hour he thought of were “nine,” he must count the first tap as “ten,” the second as “eleven,” and so on.) When, according to this mode of counting, he reaches the number “twenty,” he is to say “Stop,” when the pencil of the performer will be found resting precisely upon that hour of the dial which he thought of.

This capital little trick depends upon a simple arithmetical principle; but the secret is so well disguised that it is very rarely discovered. All that the performer has to do is to count in his own mind the taps he gives, calling the first “one,” the second “two,” and so on. The first seven taps may be given upon any figures of the dial indifferently; indeed, they might equally well be given on the back of the watch, or anywhere else, without prejudice to the ultimate result. But the eighth tap must be given invariably on the figure “twelve” of the dial, and thenceforward the pencil must travel through the figures seriatim, but in reverse order, “eleven,” “ten,” “nine,” and so on. By following this process it will be214 found that at the tap which, counting from the number the spectator thought of, will make twenty, the pencil will have travelled back to that very number. A few illustrations will make this clear. Let us suppose, for instance, that the hour the spectator thought of was twelve. In this case he will count the first tap of the pencil as thirteen, the second as fourteen, and so on. The eighth tap in this case will complete the twenty, and the reader will remember that, according to the directions we have given, he is at the eighth tap always to let his pencil fall on the number twelve; so that when the spectator, having mentally reached the number twenty, cries, “Stop,” the pencil will be pointing to that number. Suppose, again, the number thought of was “eleven.” Here the first tap will be counted as “twelve,” and the ninth (at which, according to the rule, the pencil will be resting on eleven) will make the twenty. Taking again the smallest number that can be thought of, “one,” here the first tap will be counted by the spectator as “two,” and the eighth, at which the pencil reaches twelve, will count as “nine.” Henceforth the pencil will travel regularly backward round the dial, and at the nineteenth tap (completing the twenty, as counted by the spectator) will have just reached the figure “one.”

The arithmetical reason for this curious result, though simple enough in itself, is somewhat difficult to explain on paper, and we shall therefore leave it as an exercise for the ingenuity of our readers.

To Bend a Borrowed Watch Backwards and Forwards.—This little deception is hardly to be called a conjuring trick, but it may be introduced with good effect in the course of any trick for which a watch has been borrowed. Looking intently at the watch, as though you noticed something peculiar about it, you remark to the owner, “This is a very curious watch, sir; it is quite soft.” Then taking it (as shown in Fig. 101), with the dial inwards towards your own body, and holding it between two fingers of each hand on the back, and the thumb of each hand on the face, you bend the hands outwards, at the same time bringing the points of the fingers nearer together, immediately bringing them back to their former position. The motion may be repeated any number of times. By a curious215 optical illusion, which we are not able to explain, but which we assume to be produced in some way by the varying shadow of the fingers on the polished surface of the metal, the watch appears, to a spectator at a little distance, to be bent nearly double by each outward movement of the hands. The illusion is so perfect, that great amusement is occasionally produced by the consternation of the owner, who fancies that irreparable injury is being done to his favourite “Waltham.” If, however, his faith in your supernatural powers is so great as to resist this ordeal, you may test it even more severely by means of

The Watch-mortar and the Magic Pistol.—The watch-mortar is an apparatus in the form of an ordinary mortar, with a pestle to match. Suggesting to the owner of the borrowed timekeeper that it wants regulating, you offer to undertake that duty for him. He probably declines, but you take no notice of his remonstrances, and, placing his watch in the mortar, bring down the pestle with a heavy thump upon it. A smash, as of broken glass, is heard, and, after sufficient pounding, you empty the fragments of the watch into your hand, to the horror of the owner. You offer to return the fragments, but he naturally objects to receive them, and insists that you restore the watch in the same condition as when it was handed to you. After a little discussion, you agree to do so, premising that you can only effect the object through the agency of fire. Fetching a loaf of bread, you place it on the table in view of the company. Then wrapping the fragments of the watch in paper, you place them in a pistol, and, aiming at the loaf, request the owner of the watch to give the signal to fire. The word is given, “One, two, three—Bang!” Stepping up to the loaf, you bring it forward to the spectators, and216 tearing it asunder, exhibit in its very centre the borrowed watch, completely restored, and bright as when it first left the maker’s hands.

The seeming mystery is easily explained. The mortar has a moveable bottom, which allows the watch at the performer’s pleasure to fall through into his hand. There is a hollow space in the thick end of the pestle, closed by a round piece of wood lightly screwed in, which, fitting tightly in the bottom part of the mortar, is easily unscrewed by the performer, or rather unscrews itself, as he apparently grinds away at the ill-fated chronometer. In the cavity are placed beforehand the fragments of a watch, which, thus released, fall into the mortar, and are poured out by the performer into his hand, in order to show that there has been “no deception.” When the performer goes to fetch the loaf, he has already obtained possession of the watch, which, after giving it a rub upon his coat-sleeve or a bit of leather to increase its brightness, he pushes into a slit already made in the side of the loaf. When the loaf is torn asunder (which the performer takes care to do from the side opposite to that in which the opening has been made), the watch is naturally found imbedded therein.

If a regular conjuring-table is used, the loaf may be placed in readiness on the servante. The performer in this case, having got possession of the watch, and holding it secretly palmed, borrows a hat. Walking carelessly behind his table, he asks, as if in doubt, “Who lent me this hat?” holding it up with one hand, that the spectators may see that it is empty. While all eyes are thus drawn to the hat, he with the other hand forces the watch into the loaf, and then, in bringing the hat down on the table, introduces the loaf into it, after the manner of the well-known “cannon-ball” trick, to be described hereafter. The hat is then placed on the table as if empty, and the pistol fired at the hat. This little addition heightens the effect of the trick, but demands somewhat greater address on the part of the performer.

The pistol employed, being of constant use in magical performances, will demand a special explanation. It consists of two parts, viz., an ordinary pocket-pistol, and a conical tin funnel, measuring about five inches across its widest diameter, and tapering down to a217 tube of such a size as to fit easily over the barrel of the pistol. This tube is continued inside the cone, and affords a free passage for the charge, which consists of powder only. Any object which is apparently to be fired from the pistol is pressed down between the outside of this tube and the inside of the tin cone, where it remains wholly unaffected by the explosion. The outside of the cone is japanned according to taste, the tube and the rest of the interior being always black.

There are numerous other ways of finishing the trick, with or without the use of the pistol. The watch-mortar has discharged its duty when it has apparently reduced the borrowed watch to fragments, and has placed it in reality in the hands of the performer. The sequel of the trick, with which the mortar has nothing to do, will depend on the ingenuity of the performer and his command of other apparatus.

There is another form of watch-mortar, which is frequently used, though to our own taste it is very inferior to that above described. It consists of a cylindrical tin box or case, about four inches high and three in diameter, open at the top, standing on a broad flat foot. Within this fits loosely another similar cylinder, of about an inch less in depth. The upper edge of this latter is turned over all round, giving the two the appearance of being both of a piece. The whole is closed by an ornamental cardboard cover, also cylindrical. If this cover be lifted lightly—i.e., without pressure—it will come off alone; but if its sides are pressed, they will clip the turned-over edge of the upper or moveable compartment, and lift this with it. In this form of the trick the borrowed watch is placed in a little bag, and the two together deposited in the upper compartment. In the mortar proper—i.e., the space between the two compartments—is placed beforehand a similar little bag, containing the broken fragments of a watch. The cover being under some pretext put on, the upper compartment is lifted off with it, and the pounding consequently falls on the prepared fragments.

The Snuff-box Vase.—This is an apparatus of frequent use in Watch Tricks, and it may be also made available with many other articles. It is made of various sizes, from five to eight inches218 in height, and of the shape shown in Fig. 102. It consists of three parts, the cover a, the vase proper c, and a moveable portion b, the latter being made with double sides, so that it fits at once in and upon c. If a is raised without pressing its sides, it comes off alone; but if its sides are pressed in removing it, it lifts off b with it. In this compartment b is placed a small round box of tin or cardboard (from which the vase derives its name), and another box, exactly similar in appearance, is placed underneath b, inside the vase proper c. Whether, therefore, the cover is removed with or without b, the audience see apparently the same box within. The only circumstance that could possibly excite suspicion would be the greater depth of c as compared with b; and this is obviated by making the bottom of c moveable, resting on a spiral spring passing through the foot of the apparatus. When b is in the vase, the bottom of c sinks down to make way for it, but again rises by the pressure of the spring as soon as b is removed. To the eye of the spectator, therefore, the interior of the vase appears always of the same depth.

Some vases are made with a “clip” action in the lid, so that by slightly turning round the knob on the top three projecting teeth of metal are made to tighten upon b, and thus attach it to a, a reverse movement of the knob again releasing it. In this form of the apparatus the cover may be lifted by the knob only, without the necessity of pressing on the sides—a very decided improvement.

The snuff-box vase may be used to cause the appearance, disappearance, or transformation of any article small enough to be contained in one of the boxes within. Thus, in the case of the last trick, the performer, having secretly obtained possession of the borrowed watch, may, instead of using the loaf, conclude the trick with good effect as follows:—Retiring for an instant in order to fetch the vase, he places the watch in the small box contained in c. Returning, he removes the cover219 only, thus exposing the interior of b, and requests one of the audience to examine and replace the small box therein contained. The box is seen by all to be empty, and, being replaced, the vase is again covered. The operator now fires at the vase. Having done so, he again brings it forward, but this time removes b along with the cover. The other box, which the audience take to be the same, is now exposed, and, on being examined, is found to contain the restored watch.

If you do not happen to possess the watch-mortar or the magic pistol, you may make the trick equally effective without them, by using in their place the “Demon Handkerchief,” described at page 195. Having borrowed the watch, you place a substitute (which you must have ready palmed) under the handkerchief, and give it to some one to hold. Then fetching the snuff-box vase (and concealing the watch in c), you exhibit and replace the empty box in b, as above, and place the vase on the table. Taking a corner of the handkerchief, you request the person holding it to drop it when you count “three.” Then saying, “One, two, three. Pass!” you wave the handkerchief, which appears to be empty, and advancing to the table and uncovering the vase, show that the watch is now in the box.

It is obvious that the snuff-box vase may equally well be used to produce the opposite effect—i.e., after having openly placed a watch or other article in either of the boxes, you may, by exposing in turn the other box, cause it to apparently disappear, or in like manner make it apparently change to any article previously placed in the second box.

The Watch Box.—This is an oblong mahogany box—size, four inches by three, and two and a half deep. To the eye of the uninitiated, it is a simple wooden box, with lock and key, and padded within at top and bottom. In reality, however, one of its sides is moveable, working on a pivot. (See Figs. 103, 104.) In its normal position, the side in question is held fast by a catch projecting from the corresponding edge of the bottom of the box. To release it, pressure in two places is required—a pressure on the bottom of the box so as to lift the catch, and a simultaneous pressure on the upper part of the moveable side of the box, thus forcing the lower part outwards, and allowing the watch or other article placed in the box, to fall into the220 hand of the performer. For this purpose the box is held as shown in Fig. 103.

The manner of using the box is as follows: A borrowed watch is placed in it, the owner being requested, in order to ensure its safe keeping, himself to lock it up and keep the key. The performer places the box on his table, in full view, but avails himself of the moment during which his back is turned to the audience to extract the watch, as shown in Fig. 103, and to again close the secret opening. Having thus gained possession of the watch, he can conclude the trick by causing it to re-appear in the snuff-box vase, or in any other way that he thinks proper.

There is an improved watch box, the invention of the late M. Robert-Houdin, which contains, concealed in the lid, a mechanical arrangement producing a ticking sound, which may be set in motion and again stopped at the pleasure of the performer. By using this box, the watch may be heard apparently ticking inside until the very moment when it is commanded by the operator to pass to some other apparatus.

The Watch Target.—This is in appearance an ordinary-looking round target, of about twelve inches in diameter, and supported on an upright pillar. It is painted in concentric circles, and on the bull’s-eye is fixed a little hook. Its use is as follows: A watch having been borrowed, and smashed to pieces or made to disappear altogether,221 as before explained, the performer brings forward the target, which is either held by the assistant or placed upon the magician’s table. Producing the magic pistol, the performer proceeds to load it (visibly or invisibly, according to the circumstances of the trick) with the borrowed watch or the fragments thereof. Then, taking careful aim, he fires at the target, when the borrowed watch is seen to alight on the little hook already mentioned, whence it is removed and handed to the owner.

A closer inspection of the target, which is sometimes of wood, but more often of tin, japanned, would disclose the fact that the bull’s-eye is moveable, revolving perpendicularly on its own axis. It is coloured alike on both sides, and each side is provided with such a hook as already mentioned, so that whichever side of the bull’s-eye is for the time being level with the face of the target, no difference is perceptible to the spectator. There is a little projecting pin, or stop, at one point of the diameter of the bull’s-eye, which prevents its making more than a half revolution, and a little spiral spring, attached to one of the two pivots on which it moves, compels it to turn, when at liberty, always in one particular direction until stopped by the pin, so that its normal condition is to have one particular side, which we will call, for greater clearness, side a, always turned towards the face of the target. The bull’s-eye may, however, be turned round, so that the opposite side, b, is towards the face of the target, and there is a little catch which retains it as so turned; but the instant the catch is withdrawn, the action of the spring makes it fly round again to its old position. The catch is released by means of a stiff wire passing through the pillar on which the target rests, and terminating in a round disc of metal in the foot. The mode of connection between the wire and the catch varies according to the fancy of the maker; but, whatever this may be, the catch is invariably released by an upward pressure of the disc from below. If the target is held in the hand of the assistant, this is effected by the direct pressure of the fingers; but in stage performances, where the target is placed on a table, this, as indeed almost every other mechanical piece, is set in motion by the upward movement of a wire rod (known as a piston), made, by the pulling of a string, to rise through the upper surface of the table.

222 When the target is required for use, the bull’s-eye is twisted round, so that the side a is turned towards the back, and in this position it is fixed by the catch. The borrowed watch is then hooked on the same side of the bull’s eye. The assistant, in bringing forward the target, takes care to keep the face turned towards the spectators, so that the watch, being behind, is unseen. At the moment of firing the pistol the disc is pressed upwards, and the catch being thus withdrawn, the bull’s-eye instantly spins round, and the side a, on which is the watch, takes the place of side b on the face of the target. The movement is so instantaneous that the quickest eye cannot follow it, and the explosion of the pistol at the same moment aids still further to baffle the vigilance of the spectators, to whom it appears as if the borrowed watch had really passed from the pistol to the face of the target.

This forms an effective conclusion to the Watch-Mortar Trick, the fragments (supposed to be those of the borrowed watch) being placed in the pistol, and remaining there. Where the watch-box, above described, is used, you merely go through the motion of taking the watch out, invisibly, through the top of the box, and in like manner placing it in the pistol.

The Mesmerised Watch. To Make any Watch a Repeater.—This is a trick which may be incidentally introduced with advantage in the course of any illusion in which a borrowed watch is employed. The performer, addressing the owner, asks carelessly, “Is this watch a repeater?” The answer is in the negative, and the performer resumes, “Would you like it to become a repeater? I have only to mesmerise it a little.” So saying, he makes pretended mesmeric passes over the watch, every now and then holding it to his ear. At last he says, “I think it will do now. Let us try.” Taking the chain between his finger and thumb, he lets the watch hang down at full length in front of him. “Come, watch, oblige me by telling us the hour that last struck.” (We will suppose that the time is twenty minutes to nine.) To the astonishment of all, the watch chimes eight successive strokes, with a clear bell-like tone. “Now the last quarter.” The watch chimes “two” and stops. “You see, sir, that under the mesmeric influence your watch becomes a capital223 repeater. Let us test its intelligence still further. Here is a pack of cards; will you oblige me by drawing one. Now, watch, tell me what card this gentleman has taken; and answer in the proper spiritualistic fashion, by three strokes for ‘yes,’ and one for ‘no.’ Do you know the card?” The watch chimes thrice. “Very good. Is it a club?” The watch chimes once. “Is it a spade?” The watch again strikes once. “Is it a heart?” The watch chimes three times. “The card is a heart, is it? Now, will you tell us what heart?” The watch chimes seven, and stops. “The watch declares that your card was the seven of hearts, sir. Is that so?” The card is turned, and shown to have been correctly named. Another card (say the queen of hearts) is now drawn. The watch names the suit as before, but when ordered to name the particular card, remains silent, and the performer therefore puts further questions. “Is the card a plain card?” Answer, “No.” “It is a court card, is it? Well, is it the knave?” Answer, “No.” “Is it the queen?” “Yes.” Other questions may in like manner be put, e.g., as to the number thrown by a pair of dice. The watch is at any moment handed for inspection, and if any suggestion of special mechanism be made, a second watch is borrowed, and mesmerised with the like result.

The secret lies in the use of an ingenious little piece of apparatus, which is placed in the waistcoat pocket of the performer, and from which the sound proceeds. This apparatus, which is represented in Fig. 105, consists of a short brass cylinder (about an inch and a quarter in depth, and two inches in diameter), containing a small clock-bell, with the necessary striking mechanism, which is wound up beforehand with a key, after the manner of a watch. This mechanism is set in motion by pressure on the button a, the hammer continuing to strike as long as the pressure is continued, but ceasing as soon as the pressure is removed. The cylinder, which is perforated all round, in order to give free passage to the sound, is placed upright in the left pocket of the performer’s waistcoat, which should be just so tight224 around the ribs that the mere expansion of the chest shall cause the necessary pressure against the button a, the pressure ceasing when the chest is again contracted. (The placing of a playing-card in the pocket for a to rest against will be found to facilitate the arrangement.) This is the whole of the secret. In working the trick the performer has only to take care to hold the watch in a tolerably straight line between the pocket and the audience, when, the line in which the sound travels being the same as if it actually came from the watch, it will be almost impossible to detect the deception.

Some performers, instead of placing the apparatus in the pocket, as above described, hold it in the right hand (the wand being held in the same hand) and cause it to strike by the pressure of the fingers. This is in one sense less effective, inasmuch as you cannot show the hands empty, but it is a very much more easy and certain method, so far as the striking is concerned.

The striking apparatus is generally made to give from fifty to sixty strokes. The performer must be careful not to prolong the trick until the whole are expended, or the unexpected silence of the watch may place him in an embarrassing position.

It is hardly necessary to remark that the drawn cards are forced. Where the watch is made to disclose the numbers thrown by a pair of dice, the dice are either loaded, and thus bound to indicate certain given numbers, or a box is used in which a pair of previously-arranged dice take the place, to the eyes of the audience, of the pair just thrown.

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The Flying Ring.—The majority of ring tricks depend upon the substitution at some period of the trick of a dummy ring for a borrowed one, which must be so nearly alike as not to be distinguishable by the eye of the spectator. This desideratum is secured by using wedding-rings, which, being always made plain, are all sufficiently alike for this purpose. You may account for your preference of wedding-rings by remarking that they are found to be imbued with a mesmeric virtue which renders them peculiarly suitable for magical experiments; or give any other reason, however absurd, so long as it is sufficiently remote from the true one. As, however, many ladies have a sort of superstitious objection to remove their wedding-rings, even for a temporary purpose, it will be well to provide yourself with an extra one of your own, so as to meet a possible failure in borrowing.

There is a little appliance, exceedingly simple in its character, which may be used with advantage in many ring tricks. It consists of a plain gold or gilt ring, attached to a short piece of white or grey sewing-silk. This again is attached to a piece of cord elastic, fastened to the inside of the coat-sleeve of the performer, in such manner that, when the arm is allowed to hang down, the ring falls about a couple of inches short of the edge of the cuff. Some, in place of the elastic, use a watch barrel, attached in like manner; but the cheaper apparatus, if properly arranged, is equally effective. It is obvious that if a ring so prepared be taken in the fingers of the hand to whose sleeve it is attached, it will, on being released, instantly fly up the sleeve. This renders it a useful auxiliary in any trick in which226 the sudden disappearance of such a ring is an element, and a little ingenuity will discover numerous modes of making it so available.

One of the simplest modes of using it is as follows: Producing a small piece of paper, to which you direct particular attention, you state that a wedding-ring wrapped up therein cannot be again extracted without your permission. A wedding-ring is borrowed in order to test your assertion, and you meanwhile get in readiness the flying ring, which is attached, we will suppose, to your left sleeve. Receiving the borrowed ring in your right hand, you apparently transfer it to the other hand (really palming it between the second and third fingers, and at the same moment exhibiting your own ring), and immediately afterwards drop the borrowed ring into the pochette on that side. You must take care so to stand that the back of your left hand may be towards the spectators, that the thread, lying along the inside of your hand, may not be seen. Spreading the paper on the table, and placing the ring upon it, you fold the paper over it, beginning with the side away from you, and pressing it so as to show the shape of the ring through it. As you fold down a second angle of the paper you release the ring, which forthwith flies up your sleeve. You continue to fold the paper, and repeating your assertion that no one can take the ring out without your permission, hand it to a spectator, in order that he may make the attempt. On opening the paper he finds that you were very safe in asserting that he could not take the ring out of it, inasmuch as the ring is no longer in it.

Having gained possession of the borrowed ring, you may reproduce it in a variety of different ways, according to your own fancy and invention. For instance, you may, retiring for a moment, bring forward the “snuff-box vase” described at page 217, meanwhile wrapping the ring in a piece of paper similar to that you have already used, and placing it in one of the boxes contained in the vase. Bringing the vase forward to the audience, you open it in such manner as to exhibit the other box, in which, after it has been duly examined, you request one of the audience to place the empty paper. Closing the vase, and placing it on the table, you fire your pistol at it, or merely touch it with your wand, and order the ring to return to the paper. You now open the vase at the compartment containing the first box. Drawing particular attention to the fact that you have227 not even touched the box, you again offer it for inspection. The folded paper, which the audience take to be the same, is duly found therein, and, on being opened, is shown to contain the borrowed ring.

A similar effect, on a smaller scale, may be produced by privately placing the paper containing the ring in the inner compartment of the “plug-box” (described at page 192), and requesting one of the audience to place the original folded paper in the outer compartment.

To Pass a Ring from the one Hand to either Finger of the other Hand.—This is a very old and simple trick, but it has puzzled many, and comes in appropriately in this place, as affording another illustration of the use of the “flying ring.” The only additional preparation consists of a little hook, such as is used to fasten ladies’ dresses, sewn to the trouser of the performer just level with the fingers of his right hand when hanging by his side, but a little behind the thigh, so as to be covered by the coat-tail. Borrowing a wedding-ring, the performer receives it in his right hand, immediately transferring it in appearance (as in the last trick) to his left hand. Showing in place of it the flying ring, which is already in his left hand, he drops the right hand to his side, and slips the borrowed ring on the little hook. Then remarking, “You all see this ring, which I have just borrowed. I will make it invisibly pass to my right hand, and on to whichever finger of that hand you may please to select.” Here he waves his right hand with an indicative gesture, thus indirectly showing that he has nothing therein, and again lets the hand fall carelessly by his side. As soon as the finger is chosen, he slips the borrowed ring upon the end of that particular finger, immediately closing the hand so as to conceal it, and holds out the hand at arm’s length in front of him. Then saying, “One, two, three! Pass!” he releases the flying ring, and, opening both hands, shows that the left is empty, and that the borrowed ring has passed to the selected finger of the right hand.

The hook may, if preferred, be dispensed with, the ring being simply dropped into the pochette on the right side, and again taken from thence when required.

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To Pass a Ring through a Pocket-handkerchief.—This is but a juvenile trick, but we insert it for the sake of completeness. It is performed by the aid of a piece of wire, sharpened to a point at each end, and bent into the form of a ring. The performer, having this palmed in his right hand, borrows a wedding-ring and a handkerchief (silk for preference). Holding the borrowed ring between the fingers of his right hand, he throws the handkerchief over it, and immediately seizes with the left hand, through the handkerchief, apparently the borrowed ring, but really the sham ring, which he adroitly substitutes. He now requests one of the spectators to take hold of the ring in like manner, taking care to make him hold it in such a way that he may not be able to feel the opening between the points, which would betray the secret. The ring being thus held, and the handkerchief hanging down around it, a second spectator is requested, for greater security, to tie a piece of tape or string tightly round the handkerchief an inch or two below the ring. The performer then takes the handkerchief into his own hand, and, throwing the loose part of the handkerchief over his right hand, so as to conceal his mode of operation, slightly straightens the sham ring, and works one of the points through the handkerchief, so getting it out, and rubbing the handkerchief with his finger and thumb in order to obliterate the hole made by the wire in its passage. He now palms the sham ring, and produces the real one, which has all along remained in his right hand, requesting the person who tied the knot to ascertain for himself that it has not been tampered with.

To Pass a Ring through the Table.—This also is a juvenile trick, but a very good one. The necessary apparatus consists of an ordinary glass tumbler, and a handkerchief to the middle of which is attached, by means of a piece of sewing-silk about four inches in length, a substitute ring of your own. Borrowing a ring from one of the company, you announce that it will at your command pass through the table; but as the process, being magical, is necessarily invisible, you must first cover it over. Holding the handkerchief by two of the corners, you carelessly shake it out (taking care to keep the side on which is the suspended ring towards yourself), and wrapping in it apparently the borrowed, but really the suspended229 ring, you hand it to one of the company, requesting him to grasp the ring through the handkerchief, and to hold it securely.

A word of caution may here be given, which will be found more or less applicable to all magical performances. Have the room in which you perform as brilliantly lighted as you please, but take care so to arrange the lights, or so to place yourself, that all the lights may be in front of you, and none behind you. The trick we are now describing affords a practical illustration of the necessity for this. If you have any light behind you, the handkerchief, as you shake it to show that it is not prepared, will appear semi-transparent, and the spectators will be able to see the suspended ring dangling behind it. For a similar reason, you should always endeavour to have a dark background for your performances, as any thread, or the like, which you may have occasion to secretly use will then be invisible at a short distance, while against a light background—e.g., a muslin curtain or white wall-paper—it would be instantly noticeable.

But to return to our trick: we left one of the spectators tightly holding the suspended ring, covered by the folds of the handkerchief. Your next step is to request the audience to choose at what particular spot in the table the ring shall pass through it. When they have made the selection, you place the tumbler upon the spot chosen, and request the person having charge of the ring to hold his hand immediately over the glass, around which you drape the folds of the handkerchief. “Now,” you say, “will you be kind enough, sir, to drop the ring in the glass.” He lets go, and the ring falls with an audible “ting” into the glass. “Are you all satisfied,” you ask, “that the ring is now in the glass?” The reply will generally be in the affirmative; but, if any one is sceptical, you invite him to shake the glass, still covered by the handkerchief, when the ring is heard to rattle within it.

Your next step is to borrow a hat, which you take in the hand which still retains the genuine ring, holding it in such manner that the tips of the fingers are just inside the hat, the ring being concealed beneath them. In this condition you can freely exhibit the inside of the hat, which is seen to be perfectly empty. You now place the hat under the table, mouth upwards, relaxing as you do so the230 pressure of the fingers, and allowing the ring to slide gently down into the crown. Leaving the hat under the table, which should be so placed that the spectators cannot, as they stand or sit, see quite into the crown, you take hold of the extreme edge of the handkerchief, and saying, “One, two, three! Pass!” jerk it away, and request some one to pick up the hat, and return the borrowed ring to the owner.

We have given the trick in its simplest form, but it is obvious that it is capable of any amount of variation as regards the circumstances under which the vanished ring is again found. The “plug-box” (page 192) or the “nest of boxes” (page 197) may be here made available, the performer placing the ring where it is to be afterwards found, during his momentary absence in search of the necessary apparatus.

To Pass a Ring invisibly upon the Middle of a Wooden Wand, the Ends being held by two of the Spectators.—In this trick, the handkerchief prepared (with the ring attached) for the purpose of the last illusion may be again employed, though some use for the present purpose a handkerchief with a ring stitched in one corner. In our own opinion, the suspended ring is preferable, and we shall describe the trick accordingly. The only other requisite will be the magic wand, or any short stick or rod of such diameter that a finger-ring may slip easily upon it. Having borrowed a ring, you proceed to wrap it (in reality the substitute) in the handkerchief, and hand it to some one to hold. The borrowed ring, of course, remains in your hand. Picking up with your other hand your wand, you transfer it to the hand containing the ring. Taking hold of it by the extreme end, you pass the ring over it, which a very little practice will enable you to do without the smallest difficulty. You then say, “I am about to order the ring which Mr. So-and-so is holding, to leave the handkerchief, and pass on to this wand. For greater security, I will ask two of the gentlemen present to hold the ends. Will some one volunteer for the purpose?” Two candidates having come forward, you place yourself facing the person who is holding the ring in the handkerchief, at the same time sliding your hand with the ring to the centre of the wand, and holding the latter in a horizontal231 position across your body. You now invite the two volunteers each to take hold of one end, pretending to be very particular that the wand should be perfectly horizontal, this giving you an excuse for keeping your hand upon it, sliding it backwards and forwards, and raising now one end, now the other, till the level is such as to satisfy your correct eye. When at last you are satisfied, you ask the person in charge of the ring to step forward, so as to bring it immediately above the wand, over which you immediately spread the pocket-handkerchief, letting the edges fall on either side of the wand. As soon as the wand is covered, you can of course remove your hand. Then, taking hold of one corner of the handkerchief, you request the holder of the ring to let go at the word “Three,” and saying, “One, two, three—Pass!” draw away the handkerchief sharply, which, brushing against the genuine ring, will set it revolving rapidly, as though it had just passed on to the wand.

Some professors introduce the “flying ring” in the performance of this trick, thus dispensing altogether with the handkerchief. The slight variations in working thereby rendered necessary will readily suggest themselves without further explanation.

The Magic Ball and Rings.—This is a recent improvement on the trick last described. The performer borrows three rings, which in this instance, as the trick does not depend upon a substitution, may be of any pattern. They should not, however, be too large, for which reason ladies’ rings are preferable. These he places, or requests the owners to place, in the “Davenport cabinet” (see page 195), the “watch-box” (see page 219), or any other apparatus which will enable him secretly to get possession of them. He then brings in and hands for inspection an ebony ball, an inch and a half to two inches in diameter (through which is bored a hole of three-eighths of an inch in diameter), and a brass rod about two feet in length, with a knob at each end, and of such a thickness as to pass freely through the ball. Both are closely scrutinized, and admitted to be fair and solid. In sight of all he unscrews one of the knobs, and places the ball upon the rod, throwing a handkerchief over it, and requesting two of the audience to hold the ends. Passing his hand under the handkerchief, he orders the ball to drop into his hand, when his command is instantly obeyed.232 He next orders the rings to pass from the cabinet, and to take the place of the ball on the brass rod. On removing the handkerchief, the rings are seen on the rod, and the cabinet, on examination, is found empty.

The secret consists in the use of two balls, one of which (that handed round for inspection) has no speciality. The other is divided into two parts, the section being vertically through the bore. (See Fig. 106.) These two parts fit closely together, and being (as is also the solid ball) carved in concentric circles parallel to the opening, the division is not readily noticeable. The two halves, a and b, are hollowed out to contain the rings, each having three slots or mortices cut at right angles to the direction of the hole through the ball. When the performer retires to fetch the ball and rod, he places the borrowed rings in these slots. When the two halves of the ball are brought together, the rings will encircle the hole through the centre, and the rod, when passed through the ball, will pass through the rings also. The performer places the trick ball, thus prepared, under his waistband, or in one of his pochettes, and, returning, hands for inspection the brass rod and the solid ball. While these are being examined, he palms the trick ball, and in passing over the rod apparently the ball which has just been examined, adroitly substitutes that which contains the rings. After having thrown the handkerchief over the rod, he passes under it his hand, still containing the solid ball. It is an easy matter to pull asunder the hollow ball, and this in turn is palmed, and the solid ball passed to the end of the fingers, before the performer, again uncovering his hand, which he brings out palm downward, carelessly throws down the solid ball, as being that which he has just taken off the rod. This is the only part of the trick which requires any special dexterity, and any difficulty which may be at first found will quickly disappear with a little practice.233 When the ball comes apart, the rings are, of course, left on the rod.

A further improvement may be made in the trick by using a sword with a rapier blade in place of the brass rod. The trick is not only more effective in appearance, as the sword appears to cut through the ball, but the tapering shape of the blade makes the trick much easier to perform, as you have only to draw the ball down towards the hilt, when the swell of the blade will force the two halves of the ball apart, leaving them naturally in your hand. It is best in this case simultaneously to let the solid ball drop from your palm to the floor. This draws all eyes downwards, and gives you ample opportunity to drop the halves of the trick ball into your secret pocket. In this form of the trick you, of course, hold the sword yourself in the ordinary manner, and you may, if you prefer it, dispense with the handkerchief, using your hand only to mask the operation, at once stepping forward, as the ball drops to the ground, and saying, “Will the owners be kind enough to identify their rings?”

To Pass a Borrowed Ring into an Egg.—This is an effective conclusion to a ring trick. The necessary apparatus consists of two wooden egg-cups, inside one of which, at the bottom, is cut a mortice or slot just large enough to receive one-half the circumference of a lady’s ring, and to hold it in an upright position. The second egg-cup has no speciality, being, in fact, merely a dummy, designed to be handed to the audience for inspection. An ordinary button-hook, or a piece of wire bent into the shape of a button-hook, completes the preparations.

We will assume that the performer has, in the course of one or other of the tricks already described, secretly obtained possession of a borrowed ring, which the audience believe still to remain in some place or apparatus in which they have seen it deposited. The operator, retiring for an instant, returns with a plate of eggs in one hand, and the dummy egg-cup in the other. The special egg-cup, with the ring already in the mortice, is meanwhile placed either under his waistband, or in one or other of his pochettes, so as to be instantly get-at-able when required. Placing the eggs on the table, he hands round the egg-cup for inspection, that all may observe that234 it is wholly without preparation, and in turning to place the egg-cup on the table, he substitutes for it the one which contains the ring, but which the audience naturally believe to be that which they have just examined.

Bringing forward the plate of eggs, the performer requests the company to choose whichever they please. While they are making their selection, he carefully turns back his sleeves, showing indirectly that his hands are empty. Taking the chosen egg with the tips of his fingers, and showing it on all sides, to prove that there is no preparation about it, he says, “Now, ladies and gentlemen, you have seen me place the ring which this lady has kindly lent me in ‘so-and-so’” (according to the place where it is supposed to be). “You have selected, of your own free choice, this particular egg among half-a-dozen others. I am about to command the ring to leave the place where it now is, and to pass into the very centre of this egg. If you think the egg is prepared in any way, it is open to you even now to choose another. You are all satisfied that the egg has not been tampered with? Well, then, just observe still that I have nothing in my hands. I have merely to say, ‘One, two, three! Pass!’ The ring is now in the egg.” At the word, “Pass,” the performer taps one end of the egg with his wand, just hard enough to crack it slightly. “Dear me,” he says; “I did not intend to hit quite so hard; but it is of no consequence.” Stepping to the table, he places the egg, with the cracked end downwards, in the prepared egg-cup, using just sufficient pressure to force the egg well down upon the ring, the projecting portion of which is thereby forced into the egg. The egg being already cracked, a very slight pressure is sufficient. Bringing forward the egg in the cup, the hook already mentioned, and a table-napkin, he taps the top of the egg smartly with his wand, so as to crack it, and, offering the hook to the owner of the ring, requests her to see whether her property is not in the egg. The ring is immediately fished out, and being wiped upon the napkin, is recognized as that which was borrowed. The apparatus in which it was originally placed is, on being examined, found empty.

The Magic Rose.—This little apparatus affords the means for a graceful termination of a ring trick. A ring having been made to235 disappear in any of the modes before described, the operator, retiring for a moment, returns with a rose-bud in his hand. Advancing to the owner of the ring, he requests her to breathe on the flower. As she does so, the bud is seen slowly to open, and in the centre of the new-blown flower is found the missing article.

The idea of the flower, warmed into bloom under a fair lady’s breath, is so poetical that it seems quite a pity to be obliged to confess that the rose is an artificial one, made chiefly of tin, and that its petals, normally held open by the action of a spring, are, when the flower is first brought on, kept closed by a sliding ring or collar upon the stalk, again re-opening as this collar is drawn back by the magician’s fingers.

236

We have already discussed a good many tricks in which handkerchiefs are employed in one way or another. The present chapter will be devoted to those feats in which the handkerchief forms the sole or principal object of the illusion. Where practicable, the handkerchief used should always be a borrowed one (so as to exclude the idea of preparation); and in borrowing it will occasionally be necessary to use a little tact in order to make certain of getting the right article for your purpose, without admitting, by asking specially for any particular kind of handkerchief, the limited extent of your powers. Thus, whenever the trick depends upon the substitution of a handkerchief of your own, it is necessary that the borrowed handkerchief should be of a plain white, so as not to have too marked an individuality, and of a small size, so as to be easily palmed or otherwise concealed. These desiderata you may secure, without disclosing that they are desiderata, by asking if a lady will oblige you with a handkerchief, ladies’ handkerchiefs being invariably white, and of small size. If a lace handkerchief (which would be inconveniently distinguishable from your substitute) is offered, you may pretend to fear the risk of injuring the lace, and on that account to prefer a less valuable article. In “knot” tricks, on the contrary, you should, if possible, use a silk handkerchief, which, from its softer nature, will be found more tractable than cambric.

We will begin by describing a couple of little “flourishes,” which may be incidentally introduced in the performance of more ambitious tricks, and which will sometimes be found useful in occupying the attention of the audience for a moment or two while some necessary237 arrangement is being made behind the scenes for the purpose of the principal illusion. The first we will call—

The Handkerchief that cannot be Tied in a Knot.—The performer, having borrowed a handkerchief, pulls it this way and that, as if to ascertain its fitness for the purpose of the trick. Finally twisting the handkerchief into a sort of loose rope, he throws the two ends one over the other, as in the ordinary mode of tying, and pulls smartly; but instead of a knot appearing, as would naturally be expected, in the middle of the handkerchief, it is pulled out quite straight. “This is a very curious handkerchief,” he remarks; “I can’t make a knot in it.” The process is again and again repeated, but always with the same result.

The secret is as follows:—The performer, before pulling the knot tight, slips his left thumb, as shown in Fig. 107, beneath such portion of the “tie” as is a continuation of the end held in the same hand. The necessary arrangement of the hands and handkerchief, though difficult to explain in writing, will be found quite clear upon a careful examination of the figure.

The Handkerchief that will not Burn.—This may be used either separately or in conjunction with the foregoing. The performer, taking the handkerchief, asks if it will burn. The owner naturally answers that she has no doubt it will. “Suppose we try,” says the performer; and taking the handkerchief by two of its corners,238 he draws it three or four times obliquely upwards across the flame of a lighted candle, without its receiving the slightest injury.

There is really no mystery whatever about this, although, to those who have never tried it, it appears very surprising, and the spectators are generally persuaded that you have somehow substituted another handkerchief, made incombustible by chemical means. The performer has only to take care not to allow the handkerchief to rest motionless while in contact with the flame. In the act of drawing the handkerchief over the candle, the contact of any given part with the flame is so momentary, that it is barely warmed in its passage. You must, however, take care not to attempt this trick with a handkerchief which has been scented, as any remains of spirit about it would cause it to ignite instantly, and place you in a rather awkward position.

Where a substitute handkerchief has to be burnt in the course of a trick, it is by no means a bad plan to exhibit with the substitute (which the audience take to be the original) this phenomenon of supposed incombustibility, and appearing to grow careless from repeated success, at last to allow the handkerchief to catch fire. If you can by such means induce the audience to believe, for the time being, that the burning was an accident, you will the more astonish them by the subsequent restoration.

The Vanishing Knots.—For this trick you must use a silk handkerchief. Twisting it rope-fashion, and grasping it by the middle with both hands, you request one of the spectators to tie the two ends together. He does so, but you tell him that he has not tied them half tight enough, and you yourself pull them still tighter. A second and a third knot are made in the same way, the handkerchief being drawn tighter by yourself after each knot is made. Finally, taking the handkerchief, and covering the knots with the loose part, you hand it to some one to hold. Breathing on it, you request him to shake out the handkerchief, when all the knots are found to have disappeared.

When the performer apparently tightens the knot, he in reality only strains one end of the handkerchief, grasping it above and below the knot. This pulls that end of the handkerchief out of its twisted239 condition in the knot into a straight line, round which the other end of the handkerchief remains twisted; in other words, converts the knot into a slip-knot. After each successive knot he still straightens this same end of the handkerchief. This end, being thus made straight, would naturally be left longer than the other which is twisted round and round it. This tendency the performer counteracts by drawing it partially back through the slip-knot at each pretended tightening. When he finally covers over the knots, which he does with the left hand, he holds the straightened portion of the handkerchief, immediately behind the knots, between the first finger and thumb of the right hand, and therewith, in the act of covering over the knots, draws this straightened portion completely out of the slip-knot.

Some performers (among whom we may mention Herrmann) make this feat still more effective by borrowing half-a-dozen handkerchiefs, and allowing them all to be tied end to end by the spectators. After each knot the professor pretends to examine it, asking, “What kind of a knot do you call this, sir?” and meanwhile pulls it into the required condition. The joined handkerchiefs are then placed one upon the other on a chair or in a hat, and are immediately afterwards shown to be separate.

The student must be on his guard against one particular kind of knot, which cannot be pulled into the condition above-named. We allude to the very common mode of tying, in which the two ends to be tied are placed side by side, and tied simultaneously in a single knot. The employment of this kind of knot may generally be avoided by holding the two ends to be tied at a tolerably wide angle, so that they cannot very well be drawn parallel. If, however, a spectator appears determined to tie this particular knot, it is better to allow him to do so, and then remark, “As the knots are tied by yourselves, ladies and gentlemen, you can have little doubt that they are all fair. However, for the greater satisfaction of all present, I will ask some gentleman to be good enough to untie one of them, which will give a fair criterion of the time it would take, in a natural way, to get rid of the remainder.” So saying, you hand the knot in question to be untied, and in subsequently giving the ends to be again joined, select a more accommodating person to tie them.

240 As the tricks which follow mainly depend upon the substitution of a second handkerchief, we shall in the first place describe two or three modes of effecting the necessary exchange, with and without the aid of apparatus.

To Exchange a borrowed Handkerchief for a Substitute.—Have the substitute handkerchief tucked under your waistcoat, at the left side, so as to be out of sight, but within easy reach of your hand. Receive the borrowed handkerchief in your right hand, and as you ‘left wheel’ to your table to place it thereon, tuck it under your waistband on the right side, and at the same moment pull out with the other hand the substitute, and throw the latter on the table. The substitute handkerchief (which the audience take to be the real one) being thus left in full view, you may, without exciting any suspicion, retire with the genuine one, and dispose of it as may be necessary for the purpose of your trick.

You may, however, sometimes desire merely to gain possession of a borrowed handkerchief, or to place it within reach of your assistant, without yourself leaving the apartment. In this case the substitute may be placed as before, but on your right side. Receiving the borrowed handkerchief in your right hand, you hold it loosely hanging down between the second and third, or third and fourth fingers. This leaves the thumb and first finger free, and with these you quickly pull down, as you turn to go to your table, the substitute. You thus have both handkerchiefs held openly in the same hand; but both being of like appearance, the audience take them to be one only. Passing behind your table, you let fall the borrowed handkerchief upon the servante, and throw the substitute upon the table.

A very audacious and generally successful mode of effecting the change is as follows: Taking the handkerchief, and pressing it into a moderately small compass, the performer says, “Now I am going to make this handkerchief disappear. There are plenty of ways of doing it. I’ll show you one or two. This is Professor De Jones’s method. He just turns round, so, to put the handkerchief on the table” (performer turns accordingly), “but meanwhile the handkerchief is gone. Ah, you were too sharp for me! You saw me poke it up my sleeve? Quite right, here it is. I see Professor De241 Jones’s method wouldn’t have any chance with you. This is Professor De Smith’s method.” He turns as before. “The handkerchief is gone again. Not far, though, for here it is” (turning back breast of coat and showing handkerchief). “Professor De Robinson does it like this.” (He turns away for an instant, and tucks handkerchief under waistband.) “Here it is, you see, under the waistcoat.” (Pulls it out again.) “Now, you may very well imagine that, if I had intended to have used any of these methods myself, I shouldn’t have explained them. You will find that my plan is quite a different one. When I want to get rid of a handkerchief, I just take it to the candle, and set it on fire, so” (holds handkerchief over candle, and sets light to it); or, “I place it in such and such a piece of apparatus,” etc., etc.

On the first two occasions of showing where the handkerchief is placed, the performer really does exhibit the genuine article; but at the third pretended feint, though he really does tuck it under his waistband, he pulls out again, not the same handkerchief, but a substitute, placed there beforehand. The action is so natural, and so much in harmony with his previous acts, that not one in a hundred will suspect that he has thereby really changed the handkerchief.

The mode of exchange last described, ingenious as it is, has one serious drawback—viz., that it gives the audience a clue which it is better that they should not have, and suggests suspicions and conjectures which, but for such a clue, they would never have thought of. To an acute mind, even such a slight hint as this will suggest enough to destroy half the effect of any subsequent trick in which a similar process of disappearance or exchange is employed, and even in the case of less intelligent spectators it will tend to diminish the prestige of the performer, by showing by what shallow artifices an illusion may be produced.

There are two or three pieces of apparatus for effecting the exchange of a handkerchief by mechanical means. A very good one is that known as “The Washerwoman’s Bottle,” in conjunction with which we will take the opportunity of describing the very effective trick known as

The Locked and Corded Box.—The “Washerwoman’s242 Bottle” is a simple and inexpensive piece of apparatus, of frequent use in handkerchief tricks. In appearance it is an ordinary black bottle, save that it has a rather shorter neck and wider mouth than the generality of such vessels. In reality it is made of tin, japanned black, and is divided by a vertical partition, commencing just below the mouth, into two compartments. One of these has a bottom, but the other has none, forming, in fact, a mere passage through the bottle. In the bottomed compartment is placed beforehand a piece of cambric, or dummy handkerchief, also about a glassful of port wine, or some other liquor of similar colour.

The performer borrows a lady’s handkerchief. Pretending that he is obliged to fetch some other article for the purpose of the trick, he says, as if struck by a sudden thought, “But I mustn’t run away with the handkerchief, or you might fancy that I had tampered with it in some way. Where shall I put it? Ah! the very thing. Here’s a bottle belonging to my washerwoman, which she left behind her the last time she came. It’s sure to be clean, for she is a most particular old lady. We often hear of a lady carrying a bottle in her handkerchief, why not a handkerchief in a bottle? First, madam, please see that I have not exchanged the handkerchief. Right, is it? Well, then, here goes for the bottle.” Standing behind his table, in full view of the spectators, he stuffs the borrowed handkerchief into the bottle, ramming it down with his wand. In so doing, he grasps the bottle with his left hand around its base, which he rests on the edge of the table nearest to himself, in such manner that about half the bottom projects over the edge. When he places the handkerchief in the bottle, he places it in the open compartment, and pushes it with his wand right through the bottle into his left hand, if he desires to obtain personal possession of it, or lets it fall on the servante, if it is to be carried off by his assistant. We will assume, for our present purpose, that he simply pushes it into his left hand, whence it is easy to get rid of it into the pochette on the same side. He now places the bottle in the centre of the table, but in doing so hears, or pretends to hear, a sound of liquid therein. “I hope the bottle was empty,” he remarks, “I never thought about that.” He shakes the bottle, and the liquid therein is distinctly audible. “Good gracious!” he exclaims, “I’m afraid I have ruined the handkerchief.”243 He now pours the liquid into a glass, and then, putting his fingers inside the bottle, he pulls out the prepared piece of cambric, which, of course, is wet and stained. Leaving it hanging from the neck of the bottle, he advances to the owner, and expresses his regret at the accident; but the audience, who begin to suspect that the pretended mistake is really a part of the trick, insist that the handkerchief shall be restored in its original condition. The performer feigns embarrassment, but at last says, “Well, ladies and gentlemen, I cannot dispute the justice of your observations. The handkerchief certainly ought to be returned clean as at first, and as my washerwoman has been the cause of the mischief, she is the proper person to repair it. Will you excuse my stopping the entertainment for an hour or two, while I go to fetch her? You object to the delay? Well, then, I will bring her here by spiritualistic means, à la Mrs. Guppy. Pardon me one moment.” He retires, and returns with a square box and the magic pistol. Placing the box on the table, and making a few mysterious passes over it with his wand, he says, in his deepest tones, “Spirit of Mrs. Tubbs, I command you to pass into this box, there to remain until you have repaired the damage which your carelessness has caused.” Then taking the saturated cambric from the bottle, he crams it into the pistol, and, retiring to the farthest portion of the stage, fires at the box. Laying down the pistol, and taking up the box, he advances to the owner of the handkerchief, and, offering her the key, begs her to unlock it. She does so, expecting to find her handkerchief, but finds instead a second box. This, and four or five others in succession, are opened, and in the innermost is found the handkerchief, folded and ironed, as if newly returned from the wash.

With the reader’s present knowledge, it would be almost superfluous to tell him that the operator avails himself of his momentary absence to damp and fold the handkerchief, and to press it with a cold iron. (If a hot one can be obtained, so much the better, but there is no absolute necessity for it.) Having done this, he places it in the square nest of boxes (see page 197), and closing them returns to the audience. The magic pistol has already been described (page 216). Where an assistant is employed, the performer merely pushes the handkerchief through the bottle on to the servante, as already244 mentioned, and the assistant, passing behind the table on some pretext or other, carries it off, and places it in the nest of boxes, while the audience are occupied by the pretended discovery of wine in the bottle. The trick in this form appears even more surprising, inasmuch as the performer does not leave the stage at all, and the box is brought in and placed on the table by a person who, to all appearance, has never had the handkerchief, even for a moment, in his possession.

In order still further to heighten the effect of the trick, the handkerchief is sometimes caused to reappear in the innermost of a nest of boxes which has throughout the entertainment been hung up in full view of the audience, and the outermost of which is carefully corded and sealed. The performer in this case, after firing at the supposed box (for the audience are, of course, ignorant that there are more than one), directs his assistant to take it down from its elevated position, and to place it on the table. Cutting the cords, and opening the box, he produces from it another, corded like the first. From this second box, he produces another smaller box, of an ornamental character (the square nest of boxes above mentioned). This he hands to the owner of the handkerchief, with a request that she will open it, and the result is as already described.

The trick in this form is one of the very best exhibited on the stage, and yet, as indeed are most of the best feats, it is performed by the simplest possible means. The outer box is an ordinary deal box, bonâ fide sealed and corded, but the second, though equally genuine in appearance, has no bottom, and the cord, though apparently quite complete, does not cross beneath the box, which is, in fact, nothing more than a wooden shell, or cover, with a lid to it. When the performer takes out this second box and places it on the table, he tilts it forward for a moment, and in that moment slips the nest of boxes (which is placed in readiness on the servante), underneath it, immediately afterwards raising the lid, and taking out the nest, as if it had all along been contained therein.

It only remains to explain the mode by which the nest of boxes, with the handkerchief therein, is placed upon the servante. Some performers employ the rather too transparent expedient of making the assistant bring in, then and there, a small round table, behind which, on a servante of its own, is placed the closed nest of245 boxes. A better plan, where the size of the nest permits, is to have it placed open, before the performance commences, on the servante of the centre table. It is then an easy matter for the performer or his assistant (as the case may be) to slip in the folded handkerchief, and close the boxes, the remainder of the trick proceeding as already described.

Some performers use for the purpose of this trick a special mechanical table, which, by means of a lifting apparatus, itself introduces the nest of boxes through a trap into the bottomless box, without the necessity of tilting the latter.

The Reversible Canister.—This is another piece of apparatus more particularly designed for changing a handkerchief, though equally available for many other exchanges. In appearance it is an ordinary cylindrical canister, closed with a cap, and similar in shape to those in which tea is kept, but of smaller size, being only five to six inches in height. In reality, however, that which appears to be the body of the canister is a mere tube, within which slides up and down an inner canister, which is made double-headed, i.e., like two shallow canisters placed bottom to bottom. (See Fig. 108.) The pattern of the outer tube is alike at top and bottom, so that whether the combined canister is as shown in the figure, with compartment a uppermost, or turned upside down, with compartment b pushed into view, the appearance to the eye of the spectator is the same. The canister is prepared by placing beforehand in one or other of the compartments, say b, a piece of cambric, as much like a lady’s handkerchief as possible. Compartment a is then pushed upwards, as shown in the figure. Borrowing a handkerchief, the performer requests the owner to place it for safe keeping in the canister, which he brings forward for that purpose. As he turns to replace it on the table, he takes advantage of the moment during which his back is towards the spectators to push down a (thus pushing out b at the opposite end of the tube), and at the same time to turn over the canister, which, when246 placed on the table, will still look as shown in the figure, but will have, in reality, b uppermost. Presently taking out the prepared cambric, which the spectators take to be the handkerchief, he burns or otherwise disposes of it, to be subsequently reproduced by the simple process of again reversing the canister.

This is a simple and inexpensive piece of apparatus, but it will not bear examination, and the process of reversing is a little awkward. For these reasons it is rarely employed by professional performers, who for the same purpose more generally use what is known as

The Burning Globe.—This is a hollow brass globe of four to six inches in diameter, mounted on a foot of about the same height, and surmounted by a cap or lid, so that it forms, in fact, a spherical canister. A raised band, also of brass, passes horizontally round the globe; and this, which is apparently a mere ornament, is really designed to conceal the fact that the globe is divided into two separate hemispheres, revolving one upon the other. Within this external globe is an inner one, divided into two compartments, each having a separate opening, and so contrived that each of these openings in turn is made to correspond with the opening of the external globe, according as the upper hemisphere of the latter is moved round from right to left, or vice versâ. The globe is, like the canister, prepared by placing a substitute handkerchief, or piece of cambric, in one or other of the inner compartments, and then bringing the other compartment into correspondence with the external opening. A borrowed handkerchief being openly placed in the empty compartment, the performer, by merely giving a half turn to the foot of the apparatus, brings the compartment containing the substitute uppermost, the action being so little noticeable that it may be used with impunity before the very eyes of the audience.

The Transformed Handkerchief.—This is one of Herrmann’s favourite tricks, and affords a very good example of his style of working. The performer comes forward, requesting the loan of a lady’s handkerchief. While it is being procured, he produces from the hair or whiskers of one of the spectators a lemon, which he carelessly thrusts under somebody’s nose in order to prove its genuineness.247 (This lemon, which, of course, was palmed, is a prepared one, from which the pulp has been scooped out, and which contains a substitute handkerchief, so cannot be handed for examination.) Turning for an instant towards the stage, he tosses the lemon to his assistant, who catches it, and places it on the table. The momentary turn from the audience enables him to get from under his waistband, and to palm, a little bundle of pieces of cambric, each about four inches square. Taking the borrowed handkerchief, he rolls it into a ball between his hands, and hands it (apparently) to some one to hold, in reality substituting the torn pieces of cambric. He then turns, and takes a few paces towards his table, meanwhile tucking the handkerchief under his waistcoat, and taking therefrom in place of it a strip of cambric, about four or five feet long and four inches wide, rolled up into a small compass. This he palms. Suddenly turning back, he exclaims, “My dear sir, what are you doing with that handkerchief? I never told you to do that!” The innocent holder looks up in astonishment, but the performer continues, “Will you have the kindness to open the handkerchief?” He does so, and finds it in pieces. After a little chaff about making him pay for the damage, the performer says, “Well, I suppose I must show you how to restore it.” Here he again takes the pieces, and folds them together, saying, “See, you must take them as I do, and rub them very gently with the left hand.” Substituting the prepared slip, he hands it to him; but, when he begins to rub, exclaims again, “Dear me, dear me! what are you doing now? I told you the left hand. You are making matters worse than ever.” The handkerchief is now found in a long strip. The performer endeavours to induce the owner to accept it in this shape, which he assures her is the newest style; but she naturally objects, and begs that it may be restored to its original condition. For that purpose, the performer, rolling the slip into a ball, places it in his magic pistol (see page 215), and rams it down with his wand. Appearing to reflect for a moment, he says, “Where shall I fire it? Ah! suppose I aim at that lemon on the table?” “Bang!” goes the pistol, and the performer, taking a knife, cuts the lemon all round (flinging the rind carelessly on the stage), and produces the substitute handkerchief (professedly the original). He comes forward to the audience with it, and, after thanking248 the owner, makes a gesture of returning it; but, as if struck by a sudden thought, checks himself, and says, “I’m afraid it smells rather strong of the lemon. Will you allow me to scent it for you? I have some capital Eau de Cologne here.” Going back to his table, he places the handkerchief on a plate, and pours scent on it, turning as he does so to the owner, and saying, “Please tell me when you think there is enough.” While his back is turned, the attendant, who has been standing by holding a lighted candle, with a mischievous wink at the company, tilts the candle, and sets the handkerchief on fire. The performer apologizes for his assistant’s stupidity, but appeals to the company to bear witness that it was no fault of his, and bringing forward the plate, with the handkerchief still blazing, offers it to the owner. She, of course, declines to take it, and the performer, remarking, “You don’t like it in this condition; well, then, suppose I put it in paper for you,” places the plate on the floor, telling the assistant to put it on the table, and runs off to get the paper. The attendant tries to lift off the plate, but finds that it burns his fingers. However, after several attempts, getting the plate a little nearer to the table at each, he manages to place it on the table. This little by-play amuses the audience, and gives the performer the few moments which he requires for his preparations behind the scenes. Coming forward with a sheet of clean white paper, he wraps therein the still blazing handkerchief, crushing it together so as to extinguish the flames. He offers the packet so made to the lady, who, believing that it contains nothing but ashes, declines to receive it, when the professor, tearing the paper apart, pulls out the handkerchief perfectly restored, while the burnt fragments have vanished.

The effect last mentioned is produced by the use of a double paper, pasted together round three of its sides, and thus forming a kind of bag in the centre. In this bag the performer, during his momentary absence from the stage, places the genuine handkerchief, folded so as to occupy as little space as possible. The handkerchief, therefore, lies between the two thicknesses of the paper, and when the rolled up packet is torn open from outside, may be removed without disturbing the burnt fragments, which still remain inside the paper.

Where it is necessary, as for the purpose of this trick, to introduce some article into a lemon, the necessary preparation should be made249 as follows:—A lemon with a thick hard rind should be selected, and a plug-shaped piece, about an inch and a half in diameter, should be scooped with a sharp knife out of one end. The pulp may now be removed, leaving the rind a mere shell, while the piece originally cut out will form a kind of stopper, which may be secured in its place by thrusting a hair-pin or piece of wire through the fruit and plug from side to side, and nipping off the ends flush with the outer surface. When the performer exhibits the lemon, he takes care to have the cut end inwards towards his palm; so that the circular mark is concealed by the fingers, and when he desires to produce the handkerchief he cuts the opposite end.

The Handkerchief cut up, burnt, and finally found in a Candle.—We have already described one or two modes in which a handkerchief, after being apparently cut up, or burnt, may be reproduced in its original condition. This is another and very effective form of the same trick.

Having borrowed a white handkerchief, you exchange it, by one or other of the means already described, for a substitute of similar appearance, and place the latter on the table. You then remember that, as you are about to burn the handkerchief, you will want a candle. You call to your attendant, but he, previously instructed, does not answer, and after a momentary pause you determine to fetch it yourself. You have, however, no sooner left the stage, than you meet the defaulter, and angrily remarking, in a stage whisper, so that the audience may hear, that he is never at hand when you want him, or making some similar observation, you order him to bring a lighted candle. Your absence is only momentary, but it has enabled you to throw him the real handkerchief, which he forthwith rolls up, and places inside a candle made hollow for the purpose; which he then places in a candlestick, lights, and brings on the stage. You have meanwhile taken up the substitute handkerchief, and advanced to the audience, getting ready the while in your palm a small piece of cambric, about six inches in diameter. Taking the handkerchief by the centre, in the same hand, you pull out between the first finger and thumb a portion of the piece of cambric, which is naturally taken to be a part of the handkerchief. Handing to one of the spectators250 a pair of scissors, you request him to cut off a small portion of the handkerchief. He cuts off a piece of the cambric. Holding this piece in the one hand, and taking the remainder, with the substitute handkerchief hanging down below it, in the other, you offer to teach the company your patent method of mending handkerchiefs, requiring neither thimble, needle, nor thread. Applying the cut edges to the candle, you set them on fire, rubbing them together. Finally, blowing out the flame, and throwing the handkerchief over the hand that holds the pieces, you palm them, and immediately afterwards show the handkerchief (i.e., the substitute) completely restored.

The mode of procedure so far is pretty well known, and it is highly probable that one or more of the audience will be acquainted with it. Accordingly, you may safely expect to perceive in some quarter or other, knowing glances, or confidential communications as to “how it’s done.” Noticing, or pretending to notice this, you say, “Ah, I see there is a gentleman there who thinks he has found me out. You fancy, no doubt, sir, that I have performed this trick in the old fashion, by cutting a piece of cambric which does not form part of the handkerchief. Why, my dear sir, the trick in that form is as old as—your grandmother. But it is my own fault; I quite forgot to show you that the handkerchief was really cut. It is my rule never to perform the same trick twice over, but I feel so hurt at your unkind suspicion that I must break my rule for once, and this time you shall cut the handkerchief yourself.” You offer him the scissors, and holding up the handkerchief (which the audience naturally believe to be the genuine one) by the middle, you allow him to cut a piece fairly out of it, immediately afterwards spreading it out, and showing that a large hole is made in the centre. Again, you hold the edges to the candle, but this time, as if by accident, you let the flames fairly catch hold of the handkerchief, which you are compelled to drop upon a plate or tray, and to let it burn itself out. For a moment, you feign to be embarrassed, and the audience are half inclined to believe that you have made a mistake, and your trick has failed; but you quickly recover your confidence, and remark, “This is not precisely what I intended, ladies and gentlemen. I am afraid I have made a little mistake, but fortunately it is easily remedied. The fact is, I forgot to pronounce the magic word at the right251 moment, and the handkerchief has in consequence stopped short at the first stage of transmigration. To make it pass into the second stage, that of renewed existence, I must again employ the agency of fire. See, I place the ashes in my magic pistol, and ram them down with the mystic wand. Now what shall I aim at? Ah! the candle on the table! A capital mark, and as it has been before you throughout the trick, you know that it cannot have undergone any preparation.” (You fire, aiming at the candle.) “Did you see it pass? No. It has done so, nevertheless; but I must have put in a little too much powder, for it has gone right into the candle.” (You bring the candle forward.) “Will some one oblige me by seeing if it is really in the candle.” The candle is broken in half, and the handkerchief is found embedded therein.

The candle used for the purpose of the above trick is sometimes a genuine wax or composite candle, but more often a mere pasteboard tube, previously cut half asunder in the middle (so as to break without difficulty), and then covered with glazed white paper, in imitation of a candle, a genuine candle-end being inserted at the top. If a candle of this latter description is used, the performer must himself break it, as a spectator doing so would at once discover that it was a prepared article.

Before quitting the subject of handkerchiefs burnt and restored, we may mention a little appliance called the “handkerchief table,” which is designed for this purpose. It is precisely the same in make and operation as the table or tripod, described at page 139, for burning and restoring a card, but a little larger. To those acquainted with the card tripod, the use and effect of the handkerchief table will be sufficiently obvious, without any special explanation.

The Shower of Sweets.—This is a trick which is sure to be well received by a juvenile audience. The performer comes forward with an ordinary plate or salver, which he hands for examination, and then places on the table. He next borrows a handkerchief. Laying it flat over the plate, he lifts it up by nipping the middle with his finger and thumb, letting the four corners hang down. He then strokes down the handkerchief with the other hand, under the pretence of mesmerising it, when a shower of burnt almonds, chocolate252 creams, acidulated drops, etc., pours down upon the plate. Again he strokes the handkerchief, and again the shower pours down; and the plate, being by this time full, is handed round to the company to prove that in the quality of the sweets, at any rate, there is “no deception.”

The secret lies in the use of a small bag, of cambric or fine calico, shaped like an inverted letter V. The edges are turned in at the mouth, and through each hem is passed a straight piece of watch-spring or whalebone, one a little longer than the other. The natural tendency of these is to lie side by side, keeping the mouth of the bag closed; but if pressure be simultaneously applied to both ends of the springs, the longer one assumes the shape of a semicircle, thereby opening the bag. Through the opposite end of the bag is passed a pointed wire hook. The bag is beforehand filled with nuts or bonbons, and hung by the hook to the edge of the table on the side away from the spectators. Though the bag is mouth downwards, the action of the spring keeps it closed, and nothing can fall out. When the operator, standing behind the table, draws the handkerchief over the plate, he allows a portion of the hinder edge to hang over the edge of the table nearest to himself. When he picks up the handkerchief, which he does with his finger and thumb, he takes hold, through the handkerchief, of the upper part of the bag. The bag is thus lifted up within the handkerchief, but is concealed by the folds of the latter hanging down around it. The movement of the hand in stroking down the handkerchief presses the springs, and the bag opens, again closing as soon as the pressure is relaxed. When all the contents have fallen, the performer drops the handkerchief, bag and all, on the table, while he advances to the audience with the results of the trick, and, on again picking up the handkerchief, lets fall the empty bag upon the servante, or slips it into his pocket.

It will be observed that, in the form of the trick above described, the use of both hands is necessary—one to hold the handkerchief, while the other, stroking it down, presses the springs, and causes the bag to open. There is an improved form of the bag, used, and, we believe, invented by Robert-Houdin, which enables the performer, holding the handkerchief at arm’s length, to perform the trick by mere word of command, without using the left hand at all. The253 bag is in this case of the form shown in Fig. 109. No springs are used, but the bag, when filled, is closed by folding down the flap, and hooking the little ring over the hook, the bag thereby assuming the appearance shown in Fig. 110. It is picked up within the handkerchief as described in the case of the spring bag; but when it is desired to produce the sweets, a slight inclination of the hook to the left (effected by a barely perceptible movement of the thumb and finger) causes the ring to slip off and the flap to fall down, as in Fig. 109, releasing the whole contents of the bag.

The trick may be still further improved by having two similar bags stitched back to back, each with its own ring and hook. In this case an inclination to the left releases one hook, and an inclination to the right the other. The two bags may be filled with bonbons of different colours or descriptions, or the one may be filled with bonbons and the other with grey peas. In this case you may introduce the trick by some observations upon the singular effects of the human breath, and how greatly such effects vary in different persons. A handkerchief is borrowed, and a lady and gentleman are requested each to hold a plate. The lady is requested to breathe on the handkerchief, and a shower of bonbons falls on her plate. The gentleman breathes in his turn, and retires, amid derisive applause, with a plate of peas.

While upon the subject of the mysterious production of sweets, we may incidentally mention another piece of apparatus designed for this purpose. This is a wand, made to correspond in general appearance with that habitually used by the performer. Internally, it is a254 hollow tube, with a stiff wire running throughout its whole length. One end of this wire is fixed to a moveable cap, which covers the upper end of the wand, while the other terminates in a sort of little wooden plug, which closes the opening at the other end. A spiral spring within the upper end of the wand tends to force the cap upwards, and so to keep the opposite end closed; but if pressure be applied to the cap, the plug is forced outwards, and the tube thereby opened. See Fig. 111, in which a represents the wand in its normal condition (i.e., closed), while b represents it with the cap pressed downwards, and the opposite end consequently open.

To prepare the wand for use, the cap is pressed and the valve opened. The wand is then filled with very minute sweetmeats, of the description known among juveniles as “hundreds and thousands;” after which the pressure on the cap is removed, and the plug allowed to retire into its place. The wand, thus prepared, is at the proper moment brought forward in place of the ordinary wand, which in its present condition it exactly resembles. The performer then declares his intention of passing a shower of sweets into the pocket of a spectator, and, having first shown it empty, touches the inside with the wand, at the same moment pressing the cap, when the sweets within escape into the pocket.

The Feathers from an Empty Handkerchief.—This is a very simple illusion, but has nevertheless been a favourite with many noted prestidigitateurs. Its effect is as follows:—The performer comes forward with a large handkerchief, or small shawl, which he shakes about in all directions, to show that it is empty. Throwing it over the left hand, he with the other grasps it by the middle, and removing the hand over which it was thrown, lets it hang perpendicularly down. To all appearance it is still empty; but on being shaken it is seen to contain some solid object. With a twist of the wrist, the performer turns the handkerchief and its contents upwards.255 The handkerchief naturally falls down over the coat-sleeve, leaving exposed a handsome military plume. The performer grasps, with the left hand, the stem of this plume and the centre of the handkerchief, immediately drawing away the right arm from beneath it. Again the handkerchief on being waved about is seen to contain something, which being held upright, the handkerchief falls down as before, and a second plume is revealed. The operation is again and again repeated with a like result, till fifteen or twenty plumes have been produced; the handkerchief being at any moment handed for examination.

The explanation lies in the fact that the plumes, which may be compressed into a very small compass, are laid beforehand along the arms of the performer, who puts on his coat over them. The stems of the plumes are nearest to the hands. When the handkerchief is thrown over either hand, the other hand catches hold through it of the stem of one of the feathers. This hand now remains stationary, while the other arm is drawn from under the handkerchief. The fact that the plumes come out of the sleeves is thus much less patent than if the opposite hand made the motion and drew the feather out. The plumes on being drawn out expand considerably; so much so, indeed, that it is hard to believe that the quantity with which the stage is strewn could possibly have been concealed about the person of the performer.

Some performers have in addition a bundle of plumes fastened together by a thread, and laid along the inside of the trousers and waistcoat, in such manner that the stems are just within the breast of the latter. After having exhausted his sleeves, the operator, holding the handkerchief (by two of its corners) across his chest, to show that it is quite empty, catches hold, with the second and third fingers, of the stem of the bundle within the waistcoat, and moving the handkerchief with a quick sidelong motion from left to right, or vice versâ, draws out the feathers behind it, and immediately breaking the thread, shakes them out in a shower on the stage.

There is another form of the same trick, in which the handkerchief plays only a secondary part, but, from its near relation to that last described, we insert it in this place. It is generally called

256

The Flying Plume.—For this trick you require two plumes, as nearly as possible alike in appearance. To the stem of each should be attached a loop of string or ribbon, two or three inches in length. You must also have a japanned tin tube, of about twenty inches long, and three in diameter. On either end is fitted a cap, of about two inches in depth. One of these caps is perfectly plain, but within the other is an inner cap, made after the fashion of the middle compartment of the snuff-box vase (see page 217). The relative tightness of the inner and outer caps is such that, if in removing the outer one with the finger and thumb some slight degree of lateral pressure is exerted, it nips the inner cap, which comes off with it; but if the outer cap is removed without pressure, the inner cap remains on the tube, forming a false top to it. Within this inner cap, which is internally about an inch and a half deep, is glued a short end of a third plume, similar in colour and appearance to the two others. The interior of the tube is divided into two parts by a longitudinal division, also of tin, running diagonally nearly from end to end. The tube is thus divided into two wedge-shaped compartments, the cap at one end giving access to the one, and the cap at the other end to the other; each being large enough to contain a plume. (See Fig. 112, representing a section of the entire tube, and Fig. 113, giving a slightly enlarged view of the ends.) The tube is prepared beforehand by filling the compartment which is closed by the double cap with bonbons of various kinds; the other compartment being left empty. One of the plumes is concealed in the left sleeve of the performer, as in the last trick.

These preparations having been duly made beforehand, you come forward with a small shawl, or large handkerchief, the tube, and the second plume. Laying the tube and plume upon the table, you257 request the audience to satisfy themselves that the shawl contains nothing. You then ask some one to step forward and take care of the shawl, which you meanwhile carelessly throw over your left hand, immediately after taking hold of its centre with your right, as before described, and drawing the left arm away. It is needless to remark, to those who have followed the explanation of the last trick, that the hidden plume is thereby brought under the shawl, though, being held by the loop of ribbon, there is nothing to betray its presence. You hand the shawl in this condition to the person who has volunteered to hold it, requesting him to keep it at arm’s length, still hanging down. Next taking up the tube, you open it at the plain or unprepared end, and holding it mouth downwards, show that it is (apparently) empty; then ostentatiously place the plume therein, and put the cap on.

In returning to your table you take the opportunity to reverse the tube, and to lay it down in such a manner that the opposite end (i.e., that with the false top) may be turned towards the audience. Some performers do this by letting the tube fall, as if by accident, but this is, in our opinion, a clumsy and inartistic proceeding. By gesticulating a little with the tube, in announcing what you are about to do, so that the audience may, little by little, become less certain as to which end you have just opened, and by carelessly transferring the tube from the one hand to the other just as you lay it on the table, you may make the change with scarcely a chance of detection, even by the keenest observer. You then say, “I shall now, ladies and gentlemen, make the plume which you have just seen me place in this tube travel into the shawl which that gentleman is holding, while the tube will be completely filled with objects of interest for the juvenile spectators.” Here you may possibly hear, or if not, you pretend to hear, a murmur to the effect that the feather has already left the tube. “Pardon me,” you say, “the plume has not yet left the tube, neither will it do so until I give the command,” and so saying, you take off the cap, leaving on the false top. The audience see the little bit of feather within, which they naturally take to be the end of the genuine plume. Again you replace the cap; and after going through some appropriate magical ceremony, again remove it, but this time carrying off the false top with it. (It should have been258 mentioned that the tube is japanned in such manner that the eye cannot detect any difference whether the false top is on or off.) Placing the cap, with the false top within it, on the table, you come forward and pour the sweets from the tube, while the shawl is on examination found to contain the plume.

Some performers, for the purpose of this trick, use a tube with a false top, as above described, but open from end to end, without the diagonal partition above mentioned. Before placing the plume in the tube, which they do standing behind the table, they secretly remove the cap at the lower end, and allow the plume to fall through on the servante, where it remains. In this case, there is no production of sweets, but the plume having been produced from the shawl, the performer removes both caps, and hands the empty tube for examination.

The Magic Laundry.—There is very little brilliancy, either of invention or of manipulation, in this trick, but it is nevertheless generally very well received.

The performer requests the loan of half-a-dozen handkerchiefs, taking care to accept white handkerchiefs only. These he collects in a wooden box, having somewhat the appearance of a good-sized tea caddy. Having got the required number, he places the box upon his table, and invites the attention of the audience to an ordinary tin or wooden pail. This he fills with water, and placing it in front of the stage, takes the handkerchiefs out of the box, and drops them in, stirring them about with his wand; and making as much fun as he can by his pretended anxiety that they shall be thoroughly washed. Having kept this up as long as the audience appear to be amused thereby, he wrings out the handkerchiefs one by one, and throws them into a little shallow metal tub or pan (japanned, and about four inches in depth), which his assistant at this moment brings forward for that purpose, together with a cover after the manner of a saucepan-lid, and a pistol, both of which he places carelessly on the table. Having placed the handkerchiefs in this little tub, the performer announces that having washed them, he will now proceed to dry them, for which purpose he pours over them a little spirits of wine, to which he sets fire. After letting them blaze for a moment or two259 he claps on the cover. “Your handkerchiefs are now dried, ladies and gentlemen,” he says, “but I have still to fold and iron them. It does not take very long, as you will see.” Taking up the pistol, he fires at the tub, and immediately removing the cover, comes forward to the audience, and requests them to identify their handkerchiefs, which are seen neatly folded, and apparently just washed and ironed, within it.

The intelligent reader will have already guessed that the trick depends upon a substitution of handkerchiefs. The box in which the genuine handkerchiefs are received has within it a moveable flap, between which and the back of the box the substitutes are placed. When the required number has been collected, this flap is let fall, releasing the substitute handkerchiefs, and at the same time covering the genuine ones. The substitutes having been dropped into the pail of water, the assistant carries off the box, and behind the scenes damps and folds the borrowed handkerchiefs, pressing them flat with a hot iron, if available; if not, with a cold one. The tub or pan which is used for the conclusion of the trick has an inner lining of such a size as to fit tightly within it, but about an inch less in depth. The lid again fits within this after the manner of a saucepan lid, but not quite so tightly as the lining itself fits within the outer pan. The folded handkerchiefs are placed within this lining, and the lid placed on, or rather in it—the two together as brought forward having the appearance of a lid only. When the performer claps the lid on the pan, the lining is thereby introduced, but when he again removes it, the lining is left in, exposing the folded handkerchiefs, while the substitutes remain concealed between the true and false bottoms of the pan.

The performer, of necessity, accepts white handkerchiefs only, as a coloured one would betray the secret, from the absence of its “double” among the substitutes. Some performers, in order to obviate the suspicion which might be suggested by an evident preference of white handkerchiefs, arrange that a coloured one, of which they possess a duplicate, shall be offered by a confederate among the audience. This certainly heightens the effect of the trick, as it seems to negative the idea of substitution, and though in general we deprecate, as belonging to a low class of art, the employment of confederates,260 this is just the case in which the use of such an expedient may for once be deemed admissible.

The Egg and the Handkerchief.—For this capital feat, which is generally identified with the name of Colonel Stodare, the following are the requirements:—A glass goblet, two small handkerchiefs (generally of plain crimson silk, and about sixteen inches square), a larger silk handkerchief—to which is attached, by a silk thread of about four inches in length, a blown egg-shell—and a hollow metal egg made of zinc, enamelled white, with an oval opening on one side of it measuring about an inch and a half by one inch, or a little more.

The performer comes forward, having in his right hand the goblet and one of the red silk handkerchiefs. The larger silk handkerchief is thrown with apparent carelessness over the other hand, and upon it rests the blown egg, so placed that the thread may be out of sight, while beneath the egg, concealed in a fold of the handkerchief, lies the second red handkerchief, rolled up into as small a compass as possible. The metal egg is, meanwhile, placed in the left-hand secret pocket of the performer, who introduces the trick as follows: “I have here, ladies and gentlemen, a drinking-glass, a couple of silk handkerchiefs, and an egg, all, as you will perceive, of the most ordinary description.” He passes quickly in front of the audience, as though tendering the articles for examination (taking care, however, to keep his right arm advanced towards the spectators, so that the glass and small silk handkerchief may bear the brunt of inspection), and finally places the glass and small handkerchief on a table or chair in full view. “Pray observe,” he continues, “that not one of the articles is removed from your sight, even for one moment. Now, please follow me closely. I will place the egg in the glass, and cover it over with this handkerchief.” This he does by one movement, for as the egg is already lying on the handkerchief, a mere turn of the wrist places the egg in the glass, and at the same time lets fall the handkerchief over it; and at the same time the smaller handkerchief, which was concealed in the larger, is released, and falls into the glass with the egg. “You have all seen me place the egg in the glass” (at the same time shaking the glass, to show by the sound261 that the egg is still there), “which I will not again touch. I shall now take this small handkerchief” (the one which has remained on the table), “and standing as far as possible away, I shall command the handkerchief to dissolve and pass into the glass, and the egg which is now in the glass to come into my hands.” So saying, he holds up the handkerchief, in such manner as to show indirectly that he has nothing else in his hands. Taking a few steps, as though merely to get further from the glass, and holding the handkerchief hanging down between the finger and thumb of the right hand, he drops the other hand to his side, and secretly takes from his pocket the hollow egg, which he palms, keeping the opening outwards. He then, standing with his left side towards the spectators, joins his open hands, as in Fig. 114, the handkerchief hanging down between them. Requesting the audience to watch him narrowly, that they may be quite sure that there is no deception, he begins to wave his joined hands slowly up and down, the second and third fingers of the right hand (which, it will be remembered, is away from the audience) meanwhile gradually working the handkerchief into the hollow of the egg. He every now and then pauses to show that the handkerchief is gradually diminishing, and at last when it is wholly worked into the egg, opens his hands, and shows the egg lying in his palm, taking care, of course, that the opening is undermost. To all appearance, the handkerchief has changed into an egg. “Here is the egg,” he remarks; “let us see if the handkerchief also has obeyed my bidding.” So saying, he lays the egg, still with the opening downwards, upon the table, and taking hold with the finger and thumb of the handkerchief which covers the glass, lifts it daintily up, carrying with it, concealed in its folds, the262 egg-shell attached thereto, and leaving the duplicate red handkerchief lying in the glass.

It may sometimes, though not very often, occur that one or other of the spectators, suspecting some peculiarity about the egg, may ask to be permitted to examine it. This, of course, you cannot permit, while to refuse would destroy half the prestige of the illusion. Fortunately, there is a way out of the difficulty which absolutely enhances the effect of the trick. “You would like to see the egg,” you reply; “by all means. It is a special feature of my entertainment that all articles used therein will bear the strictest examination. Here is the egg.” During these few words, you have taken up the sham egg with the fingers of your right hand, taking care, of course, to keep the opening away from the audience, and have thence apparently transferred it to your left, with which hand you offer it to the too curious spectator. It is hardly necessary to remark, that in the apparent transfer of the egg to the left hand, you have really palmed it in your right; and as you extend the left hand to the spectator, you quietly drop it from the right into the pochette on that side. The inquirer holds out his hand to receive it. “Pray examine it closely,” you say, opening your empty hand over his own. “What! you have not got it? Ah, that is your fault; you were not quick enough. I always find that this experiment makes the egg excessively volatile.” This unexpected dénouement never fails to raise a laugh against the individual who has sought to embarrass you, while the impromptu disappearance of the egg will be regarded by many as the most marvellous portion of the trick. The same expedient will be equally available to prevent the examination, at an awkward moment, of other small articles.

There is another method, in which the trick is performed with handkerchiefs borrowed from the audience. In this case, two metal eggs, like that above described, are used, the blown egg being dispensed with. The performer commences the trick by borrowing two handkerchiefs, a lady’s handkerchief, and a larger one, preferably of silk. These he places on his table, secretly exchanging the smaller one for a substitute of his own, and retires for a moment to fetch a glass. He takes advantage of his momentary absence to insert the handkerchief of which he has gained possession into one of the hollow263 eggs, and returns with this egg lying (the opening downwards) on his left palm, the other hand holding the glass, while the second hollow egg is concealed in his left pochette. Coming forward to the audience, he picks up, in passing, the larger handkerchief from the table, and handing the glass, as forming the principal portion of the apparatus, for examination, throws the handkerchief over the hand which holds the egg, showing by its outline beneath the silk that it has not been removed, and meanwhile drawing out with the finger and thumb of the concealed hand the handkerchief hidden therein; which is thus ready to be placed in the glass along with the egg, under cover of the larger handkerchief. The rest of the trick proceeds as already described, save that in this instance, the egg not being attached to the outer handkerchief, it is necessary to clip it with the fingers through the handkerchief when the latter is removed. To do this easily and effectually, it is well, in placing the egg in the glass, to place it with the opening upwards, the edges of the opening giving a readier hold than the unbroken surface of the opposite side.

The Hand Box, for Vanishing a Handkerchief.—While discussing the subject of handkerchief tricks, we must not omit to mention the “hand box,” a clever little contrivance for causing the disappearance of a handkerchief. It consists of a little tin box, of the size and shape of the heel of a gentleman’s boot, closed on all sides, save that which answers to the front portion of the heel, which is left open. (See Fig. 115.) To one of its sides is riveted or soldered a steel spring, about an inch in length. The free end of this spring forms with the side of the box a sort of clip, by means of which the box can be attached (as shown in the Figure) to the fleshy part of the hand, the opening being towards the fingers. Being within the hand, it is of course unseen by the audience. The manner of its use is much the same as that of the hollow egg264 described in the last trick, save that the hand box is never exhibited. As soon as the handkerchief is fairly worked in, the left hand is closed, as if containing it; the effect being to the audience as if the handkerchief was merely rolled up and placed in the left hand. On opening the hand, the handkerchief is found to have disappeared, the performer having meanwhile plenty of opportunity to drop the concealed handkerchief, box and all, into the pochette on his right-hand side.

The hand box may be made available in a variety of ways, as follows: The performer having borrowed a handkerchief, secretly changes it for a substitute, which he leaves in full view on the table. Having made what disposition he pleases of the original, he returns, meanwhile placing the hand box in position, and causing by its means the disappearance of the substitute, orders the borrowed article to be found in such place as he may think proper.

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To Arrange a Row of Dominoes face downwards on the Table, and on returning to the Room to turn up a Domino whose points shall indicate how many have been moved in your absence.—This is a capital drawing-room feat. You place a row of twenty dominoes face downwards upon the table, avoiding as far as possible the appearance of any special arrangement, but nevertheless taking care that the points of the first domino (commencing from the left) shall amount to twelve, the points of the second to eleven, and so on, each decreasing by one point till you reach the thirteenth, which will be the double-blank. The points of the remaining seven are a matter of indifference. You now propose to give the company a specimen of your powers of clairvoyance, and for that purpose leave the room, first requesting the company to remove during your absence any number of dominoes (not exceeding twelve) from the right to the left hand of the row, in other respects retaining their order. On your return you advance to the table, and address the company to the following effect: “Ladies and gentlemen, as I have already told you, I have the privilege of possessing the clairvoyant faculty, and I am about to give you a specimen of my powers. Now it would seem at first sight sufficiently surprising that I should be able merely to tell you the number of dominoes which have been moved in my absence, but that might be easily effected by confederacy, or many other very simple expedients. I propose to do much more than this, and to show you not only that I know the number that you have just displaced, but that I can read the dominoes before you as readily in their present position as though266 they were lying face upwards. For instance, this domino” (touching one of the row with your finger or wand) “represents the number which have been moved in my absence. Will some one please to say what that number was?” The answer is, we will suppose, “Seven.” “Seven,” you repeat, turning over the domino you have touched. “You see that I was right. Would you like me to name some more? They are all equally easy. This, let me see—yes, this is a two; this is a nine; this is a double-six; this is a double-blank;” turning over each domino to show that you have named it right.

This feat, which appears perfectly miraculous to the uninitiated, is performed by the simplest possible means. All that you have to do is to count secretly the row of dominoes as far as the thirteenth from the left-hand end, or (which is the same thing) the eighth from the right hand end, the points of which will invariably be the same as the number moved from the right to the left of the row. You do not know, until the domino is turned up, what that number actually was, but you must by no means let the audience suspect this. You must boldly assume to know the number, and from that knowledge, aided by some clairvoyant faculty, to have selected a domino whose points shall represent that number. Thus, having selected the proper domino, you call upon the audience to state the number moved, after which the turning up of the selected domino is regarded by the audience merely as a proof that you were correct in the previous knowledge for which they, without the smallest foundation, give you credit. After this domino has been turned up, it is easy, knowing the original order of the thirteen of which it forms one, to name two or three on either side of it. In most instances you will only know the total figure of a given domino, as two or three different combination of points will give the same total. (Thus a total of seven may be represented by either six and one, five and two, or four and three.) But there are two or three dominoes of which, if you know the total, you know the points also. Thus a total “twelve” must be always “double-six,” a “blank” always “double-blank,” a “one” always “blank one.” By naming one or two of these, as if hap-hazard, you will prevent the audience suspecting, as they otherwise might, that your knowledge is limited to the total of each domino.

It is obvious that this is a trick which cannot be repeated, as the267 necessary rearrangement of the dominoes would at once attract attention. You may, however, volunteer to repeat it in a still more surprising form, really performing in its place the trick next following, one of the best, though also one of the simplest, in the whole range of the magic art.

To allow any Person in your absence to arrange the Dominoes in a Row, face downwards, and on your return to name blindfold, or without entering the Room, the end numbers of the Row.—You invite the audience to select any one of their number to arrange the whole of the dominoes face downwards upon the table. This he may do in any manner he pleases, the only restriction being that he is to arrange them after the fashion of the game of dominoes—viz., so that a six shall be coupled with a six, and a four with a four, and so on. While he does this, you leave the room, and, on being recalled, you at once pronounce, either blindfold, or (if the audience prefer it) without even entering the room, that the extreme end numbers of the row are six and five, five and two, etc., as the case may be.

This seeming marvel depends upon a very simple principle. It will be found by experiment that a complete set of dominoes, arranged in a row according to domino rules (i.e., like numbers together), will invariably have the same number at each end. Thus if the final number at one end of the row be five, that at the opposite end will be five also, and so on; so that the twenty-eight dominoes, arranged as above, form numerically an endless chain, or circle. If this circle be broken by the removal of any domino, the numbers on either side of the gap thus made will be the same as those of the missing domino. Thus, if you take away a “five-three,” the chain thus broken will terminate at one end with a five, and at the other with a three. This is the whole secret of the trick: the performer secretly abstracts one domino, say the “five-three;” this renders it a matter of certainty that the row to be formed with the remaining dominoes will terminate with a five at the one end and a three at the other, and so on with any other domino of two unequal numbers.

The domino abstracted must not be a “double,” or the trick268 will fail. A little consideration will show why this is the case. The removal of a double from the endless chain we have mentioned produces no break in the chain, as the numbers on each side of the gap, being alike, will coalesce; and a row formed with the remaining dominoes under such conditions may be made to terminate in any number, such number being, however, alike at either end. A domino of two different numbers, on the other hand, being removed, “forces,” so to speak, the series made with the remainder to terminate with those particular numbers.

To Change, invisibly, the Numbers shown on either Face of a Pair of Dice.—Take a pair of ordinary dice, and so place them between the first finger and thumb of the right hand (see Fig. 116), that the uppermost shall show the “one,” and the lowermost the “three” point, while the “one” point of the latter and the “three” point of the former are at right angles to those first named, and concealed by the ball of the thumb. (The enlargement at a in the figure shows clearly the proper position.) Ask someone to name aloud the points which are in sight, and to state particularly, for the information of the company, which point is uppermost. This having been satisfactorily ascertained, you announce that you are able, by simply passing a finger over the faces of the dice, to make the points change places. So saying, gently rub the exposed faces of the dice with the forefinger of the left hand, and, on again removing the finger, the points are found to have changed places, the “three” being now uppermost, and the “one” undermost. This effect is produced by a slight movement of the thumb and finger of the right hand in the act of bringing the hands together, the thumb being moved slightly forward, and the finger slightly back. This causes the two dice to make a quarter-turn vertically on their own axis, bringing into view269 the side which has hitherto been concealed by the ball of the thumb, while the side previously in sight is in turn hidden by the middle finger. A reverse movement, of course, replaces the dice in their original position. The action of bringing the hands together, for the supposed purpose of rubbing the dice with the opposite forefinger, completely covers the smaller movement of the thumb and finger.

After having exhibited the trick in this form once or twice, you may vary your mode of operation. For this purpose take the dice (still retaining their relative position) horizontally between the thumb and second finger, in the manner depicted in Fig. 117, showing “three-one” on their upper face; the corresponding “three-one,” or rather “one-three,” being now covered by the forefinger. As the points on the opposite faces of a die invariably together amount to seven, it is obvious that the points on the under side will now be “four-six,” while the points next to the ball of the thumb will be “six-four.” You show, alternately raising and lowering the hand, that the points above are “three-one,” and those below “six-four.” Again going through the motion of rubbing the dice with the opposite forefinger, you slightly raise the thumb and depress the middle finger, which will bring the “six-four” uppermost, and the “three-one” or “one-three” undermost. This maybe repeated any number of times; or you may, by moving the thumb and finger accordingly, produce either “three-one” or “six-four” apparently both above and below the dice.

The trick may, of course, be varied as regards the particular points, but the dice must, in any case, be so placed as to have similar points on two adjoining faces.

To Name, without seeing them, the Points of a Pair of Dice.—This is a mere arithmetical recreation, but it is so good that270 we cannot forbear to notice it. You ask the person who threw the dice to choose which of them he likes, multiply its points by two, add five to the product, multiply the sum so obtained by five, and add the points of the remaining die. On his telling you the result, you mentally subtract twenty-five from it, when the remainder will be a number of two figures, each representing the points of one of the dice.

Thus, suppose the throws to be five, two. Five multiplied by two are ten; add five, fifteen, which, multiplied by five, is seventy-five, to which two (the points of the remaining die) being added, the total is seventy-seven. If from this you mentally deduct twenty-five, the remainder is fifty-two, giving the points of the two dice—five and two. But, you will say, suppose the person who threw had reversed the arithmetical process, and had taken the points of the second die (two) as his multiplicand, the result must have been different. Let us try the experiment. Twice two are four, five added make nine, which, multiplied by five, is forty-five, and five (the points of the other die) being added to it, bring the total up to fifty. From this subtract twenty-five as before. The remainder, twenty-five, again gives the points of the two dice, but in the reverse order; and the same result will follow, whatever the throws may be.

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The subject of the present chapter may be said to be the groundwork of all legerdemain, being, we believe, the very earliest form in which sleight-of-hand was exhibited. At the present day it is not very often seen, save in the bastard form known as “thimble-rig,” and used as a means of fleecing the unwary upon race-courses and at country fairs. It is, however, well worthy the attention of the student of modern magic, not only as affording an excellent course of training in digital dexterity, but as being, in the hands of an adept, most striking in effect. It is by no means uncommon to find spectators who have received more elaborate feats with comparative indifference, become interested, and even enthusiastic, over a brilliant manipulation of the cups and balls.

The prestige of the illusion is heightened by the simplicity of the appliances used, consisting merely of three tin cups about three inches high, each in the form of a truncated cone, with a rim or shoulder round the base (see Fig. 118), the ordinary wand, four little cork balls, three-quarters of an inch or a little less in diameter, and blackened in the flame of a candle, three larger balls of about an inch and a quarter in diameter, and four more of such a size as to just fill the goblet. These last are generally stuffed with hair, and covered with cloth. The number of balls may vary according to the particular “passes” which the performer desires to exhibit, but the above will be found sufficient for most purposes. The performers of the olden time were accustomed to use the gibecière, or apron with pockets, already mentioned, and to perform at a table having no speciality, save that it was a little higher than those in ordinary use; but272 at the present day the gibecière is entirely discarded, the servante of the table answering the same purpose. The arrangement of the table and apparatus is shown in Fig. 118.

The whole art of cup-and-ball conjuring resolves itself into two elements—(1), the exhibition of a ball under a cup where a moment previously there was nothing; and (2) the disappearance of a ball from beneath a cup under which the audience have just seen it (or believe that they have seen it) placed. The routine is as follows:—A cup is lifted, to show that there is nothing beneath it, and again replaced, mouth downwards, on the table. A ball is taken in the right hand, transferred to the left, and thence ordered to pass under the cup. The hand is opened, the ball has vanished, and, on the cup being lifted, is found beneath it. Again, the ball, first exhibited in the right hand, is thence openly transferred, either directly under the cup, or first to the left hand, and thence to the cup. All having seen it placed beneath the cup, it is now commanded to depart, and on again lifting the cup, it is found to have vanished. It will hardly be believed, until proved by experiment, of what numerous and surprising combinations these simple elements are capable.

The sleight-of-hand requisite for the cups and balls is technically divisible into four different acts or movements, viz.—1. To “palm” the ball. 2. To reproduce the palmed ball at the end of the fingers. 3. To secretly introduce the palmed ball under the cup. 4. To simulate the action of placing the ball under the cup. The modes of effecting these objects will be discussed in due order.

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1. To Palm the Ball. First Method.—We use the generic term “palm” for the sake of convenience, though in this first method, which is that most generally used, the ball is really concealed between the second and third fingers, and not in the palm. Take the ball between the first finger and thumb of the right hand; slightly bend the fingers (see Fig. 119), and at the same moment roll the ball with the thumb across the first and second fingers, till it rests between the second and third fingers (see Fig. 120), which should slightly separate to receive it, again closing as soon as it is safely lodged. The ball will now be as shown in Fig. 121, and it will be found that the hand can be opened or closed with perfect freedom, and, indeed, be used in any manner, without being in the least hampered by its presence. The student should practise palming the ball in this manner both in the act of (apparently) transferring the ball to the left hand, and in that of (apparently) placing it under a cup lifted by the left hand for that purpose.

Second Method.—The second method is to actually “palm” the ball, in the same manner as a coin. For this purpose the ball is, as before, taken between the first finger and thumb of the right hand, but is thence made by the thumb to274 roll between the tips of the third and fourth fingers, which immediately close into the palm, and, again opening, leave the ball behind them. With a little practice, two balls in succession may be palmed in this way, and then a third by the first method.

Third Method.—The third method is that which was adopted by the celebrated Bosco, a most accomplished performer with the cup and balls. Being accustomed to use balls of a larger size than those above described, and therefore too bulky to palm by the first method, he used to hold them by means of a slight contraction of the little finger. (See Fig. 122.) The necessary movement of the fingers to place the ball in position is nearly the same as by the first method.

2. To Reproduce the Palmed Ball at the End of the Fingers.—The mode of doing this will vary according to the method by which the ball is palmed. If according to the first or third method, the ball is simply rolled back to the finger-tips with the ball of the thumb, exactly reversing the process by which it was palmed. But if the ball was palmed by the second method, it is, for the time being, not get-at-able by the ball of the thumb. In this case the first step is to close the third and fourth fingers upon the ball (see Fig. 123), and therewith roll it to the position shown in Fig. 122, when the thumb is enabled to reach it, and to roll it to the finger-tips in the manner just described.

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3. To Secretly Introduce the Palmed Ball under the Cup.—This is always done in the act of raising the cup (with the right hand), for the ostensible purpose of showing that there is nothing underneath it. The chief thing to be attended to is the position of the right hand (in which we are supposing a ball to be palmed by one or other of the methods above mentioned) in raising the cup. This should be done with the hand spread almost flat upon the table, and grasping the cup as low down as possible, between the thumb and the lowest joint of the forefinger. In the act of raising the cup, the fingers naturally assume the position shown in Fig. 124, whereby the ball is brought in close proximity to, and slightly under, the edge of the cup. If the ball be palmed by the first method, all that is necessary in order to release it is a slight backward movement of the second, and a forward movement of the third finger, made just before the cup again touches the table. This will be found to drop the ball immediately under the cup. If the ball be palmed by the third method, its introduction under the cup is a still easier matter, as by the act of raising the cup it is brought directly underneath it, and is released by the mere act of straightening the third and fourth fingers. If the ball is palmed by the second method, it becomes necessary, before taking hold of the cup, to close the third and fourth fingers slightly (see Fig. 123), and bring the ball to the position shown in Fig. 122. From this point the operation is the same as if the ball had been originally palmed by the third method.

It is sometimes necessary to introduce a ball between two cups. It will be remembered that each cup is made with a cylindrical rim or shoulder. The purpose of this shoulder is that, when two cups are placed one upon the other (see Fig. 125), there may be a space between them sufficient to receive a ball or balls. To further facilitate the introduction of the ball, the top of each cup is made, not276 flat, but concave. When it is desired to introduce a ball between two cups, that object is effected as follows:—Having the ball ready palmed in the right hand, the performer takes up a cup in the same hand, and with it covers the second cup, at the same moment introducing the ball beneath it in the ordinary manner, but with the addition of a little upward jerk, rather difficult to describe, but easily acquired with a little practice. The ball is thereby thrown to the top of the uppermost cup, and, in again falling, is received by the concave top of the lowermost cup.

4. To Simulate the Action of Placing a Ball under a Cup.—This may be done in two ways. The first is to raise the cup with the left hand, apparently placing the ball underneath it with the right, but really palming it. Care must be taken that the edge of the cup shall touch the table at the very moment that the fingers of the right hand are removed. The second and more common method is to apparently transfer the ball to the left hand, palming it in the transit, and then bringing the closed left hand close to the cup on the table, raise the cup with the other hand, and immediately replace it with a sort of scraping movement across the fingers of the now opening left hand.

When the student has thoroughly mastered the various operations above described, he will have little to learn save the combination of the various Passes, a matter of memory only. There are, however, one or two subordinate sleights with which he should make himself acquainted before proceeding publicly to exhibit his dexterity.

To Produce a Ball from the Wand.—The wand is supposed to be the reservoir whence the magician produces his store of balls, and into which they vanish when no longer needed. The mode of production is as follows:—The performer, holding the wand in his left hand, and drawing attention to it by some remark as to its mysterious power of production and absorption, secretly takes with his right hand, from the servante or elsewhere, a ball, which he immediately palms (preferably by the first method). Daintily holding the277 wand by either end with the left hand, in such manner as to show that the hand is otherwise empty, he slides the thumb and fingers of the right hand (the back of which is naturally towards the audience) lightly to the opposite end, at the same moment rolling the ball with the thumb to the ends of the fingers, as already described. (See Fig. 126.) The ball thus comes in sight just as the hand leaves the wand, the effect to the eyes of the spectators being that the ball is, by some mysterious process, squeezed out of the wand.

To Return a Ball into the Wand.—This is the converse of the process last described. Taking the wand in the left hand, as before, and the ball between the thumb and second joint of the forefinger of the opposite hand, the performer lays the end of the wand across the tips of the fingers, and draws the hand gently downwards along it, at the same time palming the ball by the first method.

To Pass one Cup through another.—This is an effective sleight, and by no means difficult of acquirement. Taking one of the cups, mouth upwards, in the left hand, and holding another in a similar position in the right hand, about a foot above it, the performer drops the right hand cup smartly into that in the left hand (which latter should be held very lightly). If this is neatly done, the lower cup will be knocked out of the hand by the concussion, while the upper one will be caught and held in its place; the effect to the eye of the spectator being as if the upper cup had passed through the other. The lower cup may either be allowed to fall on the ground or table, or may be caught by the right hand in its fall.

278 The successive appearances and disappearances of the balls underneath the cups are known by the name of “Passes;” the particular combination of such passes being governed by the taste and invention of the performer. The series most generally in use is derived from a work dating from the last century, the Récréations Mathématiques et Physiques of Guyot; and Guyot, we believe, borrowed it from a German source. The series given below, which will be found very effective, is derived mainly from that of Guyot, as improved by Ponsin, a later and very ingenious writer on the art of prestidigitation.

The cups and balls require, even more than conjuring generally, a running accompaniment of talk. Each Pass should have its own “boniment,” or “patter,” carefully prepared and frequently rehearsed. It would be impossible to give, within any reasonable limits, appropriate patter for each of the Passes. This each performer must arrange for himself, so as to suit the style and character in which he performs; as it is obvious that the low comedy style of a mountebank at a country fair would be utterly unsuitable in an aristocratic drawing-room, and vice versâ. We shall, however, give a specimen or two in the course of the various Passes. The burlesque introduction next following is a paraphrase of a similar address quoted by Robert-Houdin:—

Introductory Address.—“Ladies and Gentlemen,—In an age so enlightened as our own, it is really surprising to see how many popular fallacies spring up from day to day, and are accepted by the public mind as unchangeable laws of nature.

“Among these fallacies there is one which I propose at once to point out to you, and which I flatter myself I shall very easily dispose of. Many people have asserted, and, among others, the celebrated Erasmus of Rotterdam, that a material object can only be in one place at one time. Now I maintain, on the contrary, that any object may be in several places at the same moment, and that it is equally possible that it may be nowhere at all.

“I must beg you to observe, in the first place, that I have nothing in my hands—except my fingers; and that between my fingers there is nothing save a few atoms of the mysterious fluid which we call the atmosphere, and through which our jolly old Earth spins so merrily279 along. But we must leave the common-place regions of astronomy, and return to the mysteries of hermetic science.

“I have before me, as you will have noticed, three little cups or goblets. The metal of which these are composed is an amalgam of costly minerals, unknown even to the most profound philosophers. This mysterious composition, which resembles silver in its solidity, its colour, and the clearness of its ring, has over silver this great advantage, that it will at pleasure become impalpable as air, so that solid bodies pass through these goblets as easily as they would through empty space. I will give you a curious illustration of this by making one goblet pass through another.” (This the performer does in the manner already described, and after a moment’s pause, continues, taking up his wand in his left hand, and secretly palming a ball in his right.) “This little wand, you are possibly aware, ladies and gentlemen, goes by the name of Jacob’s Rod. Why it is so called I really don’t know; I only know that this simple-looking wand has the faculty of producing various articles at pleasure. For instance, I require for the purpose of my experiment a little ball. My wand at once supplies me.” (He produces a ball from the wand, and lays it on the table.)

With this or some similar introduction, the performer proceeds to exhibit

Pass I. Having Placed a Ball under each Cup, to draw it out again without Lifting the Cup.—Having produced a ball from the wand as last described, and having laid it on the table, the operator continues,—“Allow me to show you once more that all the cups are empty” (he raises them one by one, and replaces them), “and that I have nothing in either of my hands. I take this little ball” (he picks it up with the right hand, and apparently transfers it to the left, really palming it in the right), “and place it under one of the cups.” Here he raises the cup with the right hand, and simulates the action of placing the ball under it with the left. “I draw another ball from my wand” (this is really the same ball, which remained palmed in the right hand), “and place it in like manner under the second cup.” He goes through the motion of transferring it to the left hand and thence to the cup, as before, but this time280 actually does what on the former occasion he only pretended to do, and leaves the ball under the middle cup. “I produce another ball”—(he half draws the wand through his fingers, but checks himself half-way). “I think I heard some one assert that I have a ball already in my hand. Pray satisfy yourselves” (showing the palms of his hands, the fingers carelessly apart) “that such is not the case. A lady suggested just now, by the way—it was only said in a whisper, but I heard it—that I didn’t really put the balls under the cup. It was rather sharp on the part of the lady, but you see she was wrong. Here are the balls.”K So saying, the performer lifts up the middle cup with his left hand, and picking up the ball with his right, holds it up that all may see, immediately replacing it under the same cup. The last movement is simulated only, the ball being in reality palmed in the supposed act of placing it under the cup. “We have now a ball under each of these two cups. We only want one more, and—here it is”—apparently producing a third ball (really the same again) from the wand. “We will place it under this last cup.” He actually does so. “Now, ladies and gentlemen, we have three cups and three balls, one under each cup. So far, I admit that I have not shown you anything very surprising, but now comes the puzzle, to take the balls from under the cups. Perhaps some of you sharp gentlemen will say there isn’t much difficulty in that. Lift the cup, and pick up the ball!” He suits the action to the word, lifting up the third goblet with the left hand, and picking up the ball with the right. “A very good solution, but it doesn’t happen to be the right one. The problem is to draw out the balls without lifting the cups.” Here he replaces the cup, apparently placing the ball beneath it, but really palming it, as already described in the case of the middle cup, and then returns to the first or furthest cup; touching the top of the281 goblet, he lets the palmed ball drop to his finger-tips, and immediately exhibits it, saying—“This is the way I take the balls out of the cups. The ball being no longer needed, I return it into the wand.” This he does as described at page 277, immediately afterwards, if desired, handing the wand for examination. “In like manner I draw out the second ball” (he repeats the same process with the middle goblet), “and pass that also into my wand. I need not even handle the goblets. See, I merely touch this third goblet with my wand, and the ball instantly appears on the top.” The company, of course, cannot see any ball on the end of the wand, but a ball is nevertheless taken thence by the process already described, of letting the palmed ball drop to the tips of the fingers, as they come in contact with the wand. “I pass this also into my wand. Stay, though, on second thoughts, I shall want a ball for my next experiment, so I will leave it here on the table.”

We have given a somewhat elaborate description of this first Pass, in order to give the reader some idea of the various feints and artifices employed in relation to the cups and balls. It would be impossible, from considerations of space, to do this as to each of the Passes, and the reader must therefore remember that the descriptions following give merely the essential outlines, which must be worked up to dramatic effectiveness by the ingenuity of the individual performer. Where practicable, we shall allow the few words put into the mouth of the performer to indicate the actions accompanying them, only giving special “stage directions” in cases where the performer does not suit the action to the words. For the sake of distinctness, we shall indicate the goblets (reckoning from the left hand of the performer) as A, B, and C. (See Fig. 118.)

Pass II. To make a Ball Travel invisibly from Cup to Cup.—“Now, ladies and gentlemen, if you watch very closely, you will be able to see the ball travel from one cup to another. I take the ball” (transfers it apparently to left hand) “and place it under this cup (C). You all see that there is nothing under this one” (B). In raising B with the right hand he introduces under it the palmed ball. “I shall now command the ball which I have just placed under the first cup (C) to travel under this one (B). Attention!282 and you will see it pass.” He makes a motion of the wand from the one cup to the other. “There it goes! This cup (C), as you see, is empty, and under this one (B) is the ball. I will replace it under this same cup” (B). He in reality palms it. “There is nothing under this cup” (A). He secretly introduces the ball under A. “Now observe again. Pass! Did you see it? No? well, I don’t much wonder at it, for I can’t always see it myself. Here it is, however” (lifts A), “and this cup (B) is empty.” He replaces the cups on the table, and lays the ball beside them.

Pass III. Having placed a Ball under each of the end Cups, to make them pass successively under the Middle Cup.—Before commencing this Pass, the performer, while placing the goblets in line, or otherwise engaging the attention of the audience with his left hand, takes from the servante with his right, and palms, a second ball. He continues, “For my next experiment, ladies and gentlemen, I shall require two balls. I need hardly remark that I could instantly supply myself from the wand; but there is a curious faculty about the balls themselves; they have a constant tendency to increase and multiply. For instance, without having recourse to the wand, I can instantly make this one ball into two” (he takes up the ball on the table in his left hand, taking care so to hold it that all may see that there is nothing else in his hand), “and the most curious part of the matter is, that though mathematicians insist that the whole is always greater than its part, in this case each of the parts will be found precisely equal to the whole.” As he speaks, he takes the ball from the left hand with the fingers of the right, at the same time dropping the palmed ball into the left hand, and now taking care to so hold his right hand as to show that it contains the one ball only. He then again replaces this ball in the palm of the left hand, where it lies side by side with the second ball. Rubbing the left palm with the second and third fingers of the right, with a circular motion, he gradually lifts the fingers, and shows the single ball apparently transformed into two, both of which he places on the table.

“You will observe that there is nothing under this cup (C). I will place under it this ball” (he really palms it); “neither is there283 anything under either of these two cups” (B and A). He lifts the cups one with each hand, and secretly introduces the palmed ball under B. “I take this second ball, and place it under this cup” (A). He really palms it. “We now have a ball under each of these two cups” (A and C). “I draw the ball out of this one” (C). He touches the top of the cup, and produces the ball last palmed at his finger-tips. “I order it to pass under this middle cup” (B). He apparently transfers it to the left hand, really palming it, and then makes a motion with the left hand, as if passing it into B. “It has passed, you see!” He raises B with his right hand, showing the ball under it, and in replacing it secretly introduces the second palmed ball. “Now I order the ball in this cup (A) to pass in like manner.” He waves his wand from A to B, and then lifts B. “Here it is, and these two outer cups” (turning them over with the wand) “are perfectly empty.”

Pass IV. Having placed two Balls under the Middle Cup, to make them pass under the two Outer ones.—“You have just seen these two balls pass under the middle cup; now, by way of variety, we will make them pass out of it. I will take the two balls, and place them under the middle cup.” He really so places one only, palming the other. “You observe that there is nothing either under this (A), nor under this (C).” Here he secretly introduces the palmed ball beneath C. “Now I order one of the balls under the middle cup to pass under one of the outer cups. Let us see if it has done so” (lifts middle cup with left hand). “Yes, here is only one left.” He takes it up and shows it with right hand, then makes the gesture of replacing, but really palms it. “Let us see where it has gone to” (lifts A with right hand, and in replacing it secretly introduces the palmed ball under it). “It is not under this one. Then it must be under this.” He lifts C. “Yes, here it is. Now I command the other ball in like manner to leave the middle cup, and pass under the other (A). Pass! Here it is, you see, and this one (B) is entirely empty.”

Pass V. To pass three Balls in succession under one Cup.—“So far, ladies and gentlemen, what I have shown you has284 been mere child’s play.” He drops the right hand carelessly to the servante, and picks up two more balls, one of which he holds between the fingers, and the other in the palm. “The real difficulty only begins when we begin to work with three balls. Now which of these two balls” (taking up the two balls from the table) “is the largest? This one, I fancy, has the advantage, so I will pinch a little piece off to make a third ball.” He goes through the motion of pinching the ball with the fingers of both hands, at the same moment letting fall the ball in the palm to the tips of the fingers of the right hand. “Yes, this will do. It isn’t quite round, but that is easily rectified.” He rolls it between the fingers. “That is better. Now watch me closely, ladies and gentlemen.” He places the balls upon the table, with the exception of the fourth, which remains concealed between the fingers. “You see that there is nothing under either of the cups.” He raises all three, and introduces the fourth ball under the middle one (B). He then picks up one of the balls on the table, and apparently transfers it to his left hand, really palming it. “I command this ball to pass into the middle cup. It has passed, you see” (raising the cup with the right hand, and in replacing it, introducing the ball now palmed). The operation is repeated in like manner, until three balls have been shown under the cup, the fourth finally remaining palmed in the right hand.

Pass VI. To Place three Balls one after the other upon the top of one of the Cups, and to make them fall through the Cup on to the Table.—At the conclusion of the last Pass the performer had brought three balls under the centre cup B, a fourth remaining concealed in his hand. In lifting B to exhibit the three balls, and in replacing it beside them, he takes the opportunity of introducing beneath it this fourth ball. He next takes one of the three balls thus exposed, and placing it on the top of this same goblet (B), covering it with a second goblet (A). Making any appropriate gesture he pleases, he commands the ball to fall through the lower goblet on to the table. He then overturns (without separating) the two goblets, their mouths being towards the spectators, when the ball which he had secretly introduced will be discovered, and will appear to be that which the spectators have just seen placed on the top285 of the goblet (and which really still remains between the two goblets), and picks up the two goblets together, mouth upwards, with the left hand, and with the right hand takes out that which is now uppermost (B). He turns both the goblets down upon the table, placing A over the ball which he has just shown. If this is neatly done, the other ball, which has remained in A, will not be discovered, but will as it falls be covered by A, which will now have beneath it two balls. The performer now places one of the remaining balls on the top of A, covering it with either of the other goblets, and again goes through the same process till he has shown first two, and then three balls under the cup, the fourth remaining, at the close of the Pass, between the two cups last used.

Pass VII. To pass three Balls in succession upwards through the Table into one of the Cups.—You concluded the last Pass (we will suppose the reader to represent for the time being the performer) by lifting two cups together to show three balls beneath the undermost. Holding two cups in the left hand, you turn them over, mouth upwards. Taking with the right hand that which is now uppermost, you place it on the table in the ordinary position, still retaining the other, in which, unknown to the spectators, a fourth ball still remains. You continue, “Ladies and gentlemen, you may possibly imagine that there is some trick or sleight-of-hand in what I have shown you, but I am now about to perform an experiment in which that solution is clearly inadmissible. I propose to pass these three balls, one after the other, through the solid table into this empty goblet. Pray watch me carefully. I take away one of the balls” (you take in the right hand one of the three on the table), “and hold it beneath the table, thus. My left hand, as you will observe, is perfectly empty. I have only to say, ‘Pass!’” (You palm the ball in the right hand, at the same time giving a gentle tap with one finger against the under surface of the table, and immediately bring up the hand, taking care, of course, to keep its outer side towards the spectators; then gently shake the cup which you hold in the left hand, and turn the ball out upon the table.) “Here it is, you see. Now I will put it back in the cup” (you pick up the ball with the right hand, and drop it into the cup, secretly letting fall with it the palmed ball),286 “and take another ball.” You repeat the process, and show two balls in the cup; then again (each time dropping in the palmed ball), and show three, retaining the fourth ball, still palmed, in your right hand.

Pass VIII. To Pass two Balls in succession from one Cup to another without touching them.—You again place the three cups in a row on the table, secretly introducing under the right hand cup (C) the ball which remained in your right hand at the close of the last Pass, and then openly place the three other balls on the tops of the three cups. You then proceed, “I will take this ball” (that which is on B), “and place it under this same cup” (B). You really palm it. “I take this other ball” (that which is upon A), “and place it under this cup” (A). You secretly introduce with it the ball which you have just palmed. “I take this last” (that upon C), “and place it under this goblet (A); or, stay, I will pass it invisibly to this one” (C)—really palming it. “It has passed, you see.” You lift C, and show the ball which is already there; and in again covering the ball with the cup, you secretly introduce that which you last palmed. You now have in reality two balls under each of the end cups, and none under the centre one; but the spectators are persuaded that there is one ball under each cup. “We now have one ball under each cup. Now I shall command the ball that is under the centre cup to pass into either of the end ones at your pleasure. Which shall it be?” Whichever is chosen, suppose C, you raise and show the two balls under it. You then ostensibly replace the two balls under C, but really replace the one only, palming the other. You then raise the middle cup (B), to show that it is empty, and, in replacing it, introduce the ball you have just palmed under it. “Now I shall next order one of the two balls you have just seen under this cup (C) to go and join the one which is already under this other (A). Pass! Here it is, you observe.” You raise A to show that there are two balls under it. You also raise C to show that it now only contains one ball, and leave all three balls exposed on the table.

Pass IX. To make three Balls in Succession pass under the Middle Cup.—At the conclusion of the last Pass, three balls287 were left in view, while a fourth, unknown to the audience, was hidden under the middle cup. You proceed, picking up a ball with the right hand, “I take this ball, and place it under this cup” (C); (in reality palming it). “I now order it to pass under the middle cup. Presto! Here it is, you see.” You raise the middle cup to show that the ball has obeyed your command, and, in again covering the ball, secretly introduce with it that which you have just palmed. “I take this one” (you pick up another), “and place it under this cup” (A)—here you palm it as before—“and order it also to pass under the middle cup.” You raise the middle cup, and show that there are now two balls under it, and, in again covering them, introduce the ball which you last palmed. “I take this last ball, and place it under this cup” (C)—palming it—“whence I shall command it to again depart, and join its companions under the middle cup. This time it shall make the journey visibly.” You take your wand in the left hand, and with it touch the cup C. “Here it is, you see, on the end of my wand. You don’t see it? Why, surely it is visible enough. Look.” You pretend to produce the palmed ball from the wand, and exhibit it to the company. “You can all see it now.” You lay down the wand, and go through the motion of transferring the ball to the left hand, really palming it in its passage. “Now, then, pray watch me closely, and you will see it pass under the cup. One, two, three!” You make the gesture of throwing it through the middle cup, and open the hand to show it empty, immediately turning over the goblets to show that there are three balls under the middle and none under the outer ones.

Pass X. The “Multiplication” Pass.—For the purpose of this Pass it is necessary to borrow a hat, which you hold in the left hand. You then place the three balls in a row upon the table, and cover each with one of the cups. It will be remembered that a fourth ball remains palmed in your right hand. You now lift up the right hand goblet (C), and place it on the table close beside the ball which it lately covered, and as you do so, secretly introduce beneath it the palmed ball. You pick up with the right hand the ball which you have thus uncovered, and go through the motion of dropping it into the hat, really palming it in the moment during which the hand is288 concealed inside the hat, and at the same moment simulating, by gentle tap against the inside, the sound which the ball would make if actually dropped into the hat. You next lift B in like manner, introducing the ball just palmed beneath it, and go through the motion of placing the second ball, which is thereby left exposed, in the hat. You do the same with the third cup, then return to the first (which the spectators believe to be now empty, and from which they are astonished to see you produce another ball), continuing till you have raised each cup in succession eight or ten times, and, on each occasion of lifting a cup to uncover a ball, introducing beneath it the ball which you had just previously palmed. To the eyes of the spectators, who believe that the balls are really dropped into the hat, the effect will be exactly as if new balls, by some mysterious process of reproduction, came under the cups at each time of raising them. When you think your audience are sufficiently astonished, you remark, “I think we have about enough now; the hat is getting rather heavy. Will some one hold a handkerchief to receive the balls?” When the handkerchief is spread out, you carefully turn over the hat, and the general astonishment will be intensified at discovering that it contains nothing.

There is, of course, a ball left under each of the cups, and a fourth palmed in your right hand. This latter will not again be wanted, and you should therefore, while attention is drawn to the hat, drop it upon the servante, or into one of your pochettes.