THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 The John J. and Hanna M. McManus 
 
 Morris N. and Chesley V. Young 
 
 Collection 
 
^J 
 
Digitized by the Internet Archive 
 
 in 2008 with funding from 
 
 IVIicrosoft Corporation 
 
 http://www.archive.org/details/conjuringforamatOOstanrich 
 
AN EASlEliN WATER-rOT 
 
 THE AUTHOR AND HIS PAPER-FOLDIKG FEAT. 
 
Conjuring 
 
 FOR 
 
 AMATEURS: 
 
 A PBACTICAL TREATISE 
 
 ON 
 
 HOW TO PERFORM MODERN TRICKS. 
 
 BY 
 
 PROF. ELLIS STANYON. 
 
 WITH NUMEROUS ILLUSTRATIONS. 
 
 LONDON: 
 
 L. UPCOTT GILL, 170, STRAND, W.C. 
 
 NEW YORK: 
 CHARLES SCRIBNER'S SONS, 153-157, FIFTH AVENUE. 
 
 1901. 
 
LONDON : 
 
 L. UPCOTT GILL, LONDON AND COUNTT PRINTING WORKS, 
 
 DKURY LANE, W.C. 
 
 GIFT 
 
G V ^-5" 
 
 PREFACE. 
 
 In submitting the following collection of conjuring tricks 
 to my brother magicians and the public generally, I enter- 
 tain the earnest hope that they will derive as much pleasure 
 from the study and practice of the same as I have myself. 
 It is always a great delight for me either to witness or 
 to practise a trick, and it is a grand mental as well as 
 manual exercise. I contend that, if practised only as a 
 hobby, conjuring is a wholesome and a moral one ; and if 
 studied diligently with a determination to succeed, it 
 cannot fail to sharpen the wits of the person practising it. 
 
 In compiUng this work it has been my aim to describe 
 such tricks as, so far as I have been able to learn, have not 
 hitherto been published, thus providing for my confreres 
 and the public alike an interesting volume of present-day 
 magic, and T trust that it may be the means of enabHng the 
 reader to astonish and amuse his friends, and the public, 
 with the fascinating art of Legerdemain. 
 
 ELLIS STANYON. 
 
 76, Solent Road, 
 
 West Hampstead, N. W. 
 
CONTENTS 
 
 Chap: Page 
 
 I. — Introduction 1 
 
 II. — Principles op Sleight op Hand Applicable 
 
 TO Small Objects 8 
 
 III. — Tricks with Coins 14 
 
 IV. — Tricks with Handkerchieps 29 
 
 V. — Tricks with Balls 46 
 
 VI. —Hat Tricks 60 
 
 VII. — Anti-Spiritualistic Tricks 70 
 
 VIII. — Miscellaneous Tricks 81 
 
 IX. — Paper-folding 108 
 
 X. — Concluding Observations 116 
 
%- 
 
 CONJURING FOR AMATEURS 
 
 CHAPTER I. 
 
 UrTBODUCTION. 
 
 There are one or two leading principles to be borne in 
 mind by anyone taking up the study . of magic. The first 
 and foremost is, Never tell the audience what you are going to 
 do before you do it. If you do, the chances of detection 
 are increased tenfold, as the spectators, knowing what to 
 expect, will the more readily arrive at the true method of 
 bringing about the result. 
 
 It follows as a natural consequence that you must never 
 perform the same trick twice in the same evening. It is very 
 unpleasant to have to refuse an encore ; and should you be 
 called upon to repeat a trick study to vary it as much as 
 possible, and to bring it to a different conclusion. There 
 will generally be found more ways than one of working a 
 particular trick. It is an axiom in conjuring that the best 
 trick loses half its effect on repetition. 
 
 Should a hitch occur in the carrying-out of the pro- 
 gramme by the accidental dropping of an article, or from 
 any other cause, above all things do not get confused, but 
 treat the matter as a good joke, and meet the difficulty with a 
 smile, making use of some such expression as the following : 
 
 B 
 
2 CONJURING FOE AMATEURS. 
 
 "Well, you see I put it down there to show that it 
 would go. It is perfectly solid and does not stick." By 
 this means, instead of spoiling the entertainment, you add 
 greatly to the amusement of the spectators. 
 
 Do not cultivate quick movements : at the same time it 
 will never do to be painfully slow ; but endeavour to 
 present your tricks in an easy-going, quiet, graceful manner. 
 It is generally understood that " the quickness of the hand 
 deceives the eye," but this is entirely erroneous. It is 
 impossible for the hand to move quicker than the eye can 
 follow, as can be proved by experiment. The deception 
 really lies in the method of working the trick, and in the 
 ability of the performer in misdirection, as will be seen 
 from a perusal of the following pages, 
 
 A httle well-arranged patter as an introductory to an 
 entertainment will be found to put you on good terms with 
 your audience. A few words, something like the following, 
 will sufl&ce : " Ladies and Gentlemen, with your kind 
 attention I shall endeavour to amuse you with a series of 
 experiments in legerdemain. In doing so I wish it to be 
 distinctly understood that I shall do my best to deceive 
 you, and upon the extent to which I am able to do so will 
 depend my success. " 
 
 At the close of an entertainment a Httle speech, of which 
 the following is an example, will be found to prove a good 
 finish : " Ladies and Gentlemen, in concluding my enter- 
 tainment I have only to say that, apart from deceiving you, 
 which was but a secondary consideration, if I have been 
 able to afford you some slight fun and amusement I feel 
 amply rewarded. " 
 
 In concluding these remarks I must enforce upon the 
 novice the necessity for constant practice, without which 
 the clearest instruction would be useless. This appUes, not 
 only to conjuring, but equally well to any form of amusement, 
 
INTBODUOTION. 3 
 
 SO the would-be magician may congratulate himself on 
 the fact that the difficulties to surmount are not in excess of 
 those of any other form of entertainment. 
 
 Before proceeding to describe the various tricks it will be 
 well to notice one or two appliances of general utiHty. 
 
 The Dress.— The usual attire of the modern magician is 
 the conventional evening dress, but I have known performers 
 of the present day to adopt various fancy costumes. For 
 instance, I have seen a conjurer attired as a Knight of the 
 Garter ; another one, calling himself L'homme masque^ wears 
 Court dress with a black mask covering the upper part 
 of his face. In these two cases, however, the swallow-tail 
 coat, an important adjunct, is retained. Again, I have seen 
 a conjurer attired as Mephistopheles, a very smart costume, 
 and to a certain extent appropriate, but entailing too much 
 trouble for the majority of performers. I have also been 
 present at an entertainment where the magician, a very 
 clever performer, was attired in evening dress, but wore a 
 short dinner jacket. In these last two cases, the swallow- 
 tail coat was, of course, dispensed with, a decided improve- 
 ment, as it adds greatly to the bewilderment of the audience 
 as to how the conjurer obtains and disposes of the various 
 articles he uses. 
 
 Where the ordinary dress coat is used, each tail is provided 
 with a large pocket, known as a profonde, the mouth of which 
 is on a level with the knuckles, and slopes slightly to the side. 
 These pockets, which are usually Tin. square, are lined with 
 buckram, and sewn on rather full, to keep them constantly 
 open. They are used to contain "loads" for hat tricks, etc., 
 also to vanish articles, such as watches, eggs, or balls. 
 
 In addition to these pockets, two others, known as 
 pochettes, are used on the trousers. These are sewn on 
 rather full at the back of the thigh, on a level with the 
 
 p 2 
 
4 CONJUBING FOR AMATEURS. 
 
 knuckles, and covered by the tails of the coat ; they are 
 useful to contain rings, coins, or other small articles required 
 in the course of the performance. 
 
 There are also two pockets known as breast pockets, one 
 in each side of the coat. These should be of a size large 
 enough to contain a dinner plate, and should be made with 
 the bottom sloping a Uttle towards the back, to prevent articles 
 placed in them from faUing out. The opening should be in 
 a perpendicular position IJin. from the edge of the coat. 
 These are loaded with rabbits, doves, etc. , or any large or 
 cumbersome article required for magical production. 
 
 In the case of fancy costumes the pockets, if required, 
 must be arranged as the attire permits. If you perform in 
 a dinner jacket, the ordinary side pockets can be used for 
 producing or vsmishing the articles. The breast pockets, 
 as already described, can be retained. 
 
 The collar, which should be of the ordinary " stand-up " 
 pattern and one size larger than that in everyday wear, will 
 be found to provide an excellent means for the evanishment 
 of articles such as coins, small balls, rings, handkerchiefs, 
 and the like. 
 
 When it is necessary to regain possession of a coin or 
 ring vanished in this way, it will be well to have a small 
 silk handkerchief arranged between the shirt collar and the 
 side of the neck, otherwise the piece might be lost beyond 
 recovery. (See " The Wandering Coin," page 14.) 
 
 The Table. — There are a great many tricks which can be 
 performed without the aid of a special table ; in fact, tables 
 of any description are very secondary articles in the stage 
 settings of conjurers of the present day. Where they are 
 employed they are usually of the small round tripod 
 pattern, fancifully made for show, and are used only for 
 the purpose of an ordinary table. 
 
INTRODUOTION* O 
 
 Tables with traps and other mechanical appliances are 
 almost, if not entirely, out of date, no performer with any 
 pretensions to originality making use of them. 
 
 A neat little table can be made from a piece of board 
 18in. in diameter, covered with red baize, and hung with 
 fancy fringe to taste; the legs taking the form of an 
 ordinary music stand. The under-side of the table is fitted 
 with a brass plate holding a pin, about 2in. long, to fit the 
 socket of the stand. This forms one of the most compact 
 tables possible, and is greatly in vogue, as the stand can be 
 folded up into a small compass, and placed, together with 
 the top, in a black canvas case for travelling. Two of 
 these tables will occupy very little more room than one, and 
 they look well in pairs. They will generally be found to 
 afford sufficient convenience for an evening's entertainment. 
 
 The Servante. — This is a secret shelf behind the per- 
 former's table, on which are placed articles to be magically 
 produced in various ways. It is also used to vanish 
 articles as occasion may require. 
 
 In the absence of a specially prepared table a servante 
 can be readily devised by pulling out the drawer at the 
 back of any ordinary table about 6in., and throwing a 
 cloth over the whole, the cloth being pushed well into the 
 drawer so as to form a pad to deaden the sound of any 
 article dropped into it. 
 
 If a table with a drawer cannot be obtained, a servante, 
 which will answer every purpose, can be arranged by throw- 
 ing a cloth over the table and pinning it up behind in the 
 form of a bag. 
 
 In the case of the small round tripod tables, a small 
 drawer, made from a cigar box, can be attached to the 
 under side of them, and pulled out as required. The fringe 
 decorating the edge -of the table will conceal the presence 
 
6 
 
 CONJUEING FOR AMATEURS. 
 
 of the drawer ; but if the whole of the under side of the 
 table, drawer included, be painted black, it cannot be 
 detected at a few paces. 
 
 There are various forms of portable servantes for fixing 
 to the back of a table or chair. A description of one for 
 use on a chair will be sufficient to give a clear idea of the 
 construction of others, which can be arranged as required 
 by the ingenuity of the performer. A piece of Jin. board, 
 Tin. by 5in., is covered with green baize, and shghtly 
 padded on one side with cotton wool, to prevent injury to 
 any fragile article that may come in contact with it in the 
 
 course of the perfor- 
 mance. To this is 
 screwed an iron 
 frame (Fig. 1) of 
 the same dimensions 
 as the board. The 
 frame, which carries 
 a network as shown, 
 is screwed to the 
 board in such a way 
 that it will fold up 
 flush with the same, the whole being when closed under lin. 
 in thickness. The frame carrying the network is prevented 
 irom opening too far by an iron bar screwed to the back of 
 the woodwork, the sides of the frame being extended under 
 this as shown. The board is fitted with two brass eyelets 
 for attaching it to the top rail of an ordinary chair by means 
 of two screw eyes or stout pins. To conceal the servante 
 throw a fancy cloth over the back of the chair. 
 
 Fig. 1. Serva>'te for Use on a Chair 
 
 The Wand — This is a light rod about 15in. long and 
 |in. in diameter, usually of ebony, vnth ivory tips ; a plain 
 rod, however, will answer the purpose equally well. 
 
INTEODUOTION. 7 
 
 The use of the wand is regarded by the uninitiated as a 
 mere affectation on the part of the performer, but such is 
 far from being the case. Its uses are legion. In addition 
 to the prestige derived from the traditional properties of 
 the wand, which has been the mystic emblem of the 
 magician's power from time immemorial, it is absolutely 
 necessary for the successful carrying-out of many experi- 
 ments, as wiU be seen in the course of the present work. 
 For instance, having palmed a coin, say in the right hand, 
 you lower that hand and take up the wand, which effectually 
 conceals, in a perfectly natural manner, the presence of the 
 coin. The wand is now passed once or twice over the left 
 hand, which is supposed to contain the coin, and on opening 
 the hand the coin will be found to have vanished. It will 
 thus be seen that the wand is of the utmost importance, 
 and the tyro cannot do better than make it his first 
 investment. 
 
CHAPTER 11. 
 
 FBINCIFLES OF SLEIGHT OF HAND AFFLI- 
 CABLE TO SMALL OBJECTS. 
 
 Falming. — The first thing the neophyte will have to do 
 will be to learn palming, i.e., the art of holding small 
 objects, such as coins, balls, nuts, corks, etc., concealed in 
 the hand by a slight contraction of the palm. 
 
 Practise first with a coin. A florin is the most con- 
 venient size, and is the coin generally preferred by con- 
 jurers, as its milled edge affords a ready grip to the palm. 
 
 Lay the coin 
 on the right 
 hand as shown 
 in Fig. 2. 
 Then shghtly 
 contract the 
 palm by pres- 
 sing the ball of 
 the thumb in- 
 wards, moving 
 the coin about with the fore -finger of the left hand until 
 you find it is in a favourable position to be gripped by 
 the fleshy portions of the hand. Continue to practise this 
 until you can safely turn the hand over without any fear of 
 letting the coin fall. 
 
 When you can accomplish this with ease, lay the coin 
 on the tips of the second and third fingers, steadying it with 
 
 Fig. 2. Palming Coin; 
 
PEIN0IPLE8 OP SLEIGHT OP HAND. 9 
 
 the thumb as in Fig. 3. Then moving the thumb aside, to 
 the right, bend the fingers, and pass the coin up along the 
 side of the thumb into the palm, which should open to 
 receive it, and where, if you have followed the previous in- 
 structions, you will find no difficulty in retaining it. 
 
 As soon as 
 you can do this 
 vnth the hand 
 at rest, practise 
 the same move- 
 ment with the 
 right hand in 
 
 motion towards ^.g. 3.. p^^,^^^ com. 
 
 the left, as if 
 
 you really intended to place the coin in that hand. To get 
 this movement perfect, it is advisable to work in front of 
 a mirror. Take the coin in the right hand and actually 
 place it in the left several times; then study to execute 
 the same movement exactly, with the exception that you 
 retain the coin in the right hand by palming. 
 
 When appearing to transfer a coin, or any small object, 
 from the right hand into the left, the left hand should rise 
 in a natural manner to receive it. The right hand, in which 
 is the palmed coin, should fall to the side ; and the left 
 hand should be closed as if it actually contained the coin, 
 and should be followed by the eyes of the performer. This 
 will have the effect of drawing all eyes in that direction, 
 and in the meantime the right hand can drop the coin into 
 the profonde, or otherwise dispose of it as may be necessary 
 for the purpose of the trick. 
 
 Let it be distinctly understood once for all that when you 
 desire to draw the attention of the audience in a certain 
 direction you must look fixedly in that direction yourself. 
 
 The student who desires to become a finished performer 
 
10 
 
 CONJURING FOE AMATEURS. 
 
 should palm the various objects, with equal facility, either 
 in the right or in the left hand. 
 
 When you can hold a coin properly, as described, prac- 
 tise with a small lemon, a watch, or any other objects of 
 similar sizes. In this case, however, 'owing to the greater 
 extent of surface, It will not be found necessary to press 
 the object into the palm, but simply to close the fingers 
 round it, in the act of apparently placing it in the left hand. 
 
 Le Tourniquet. — This pass is gener- 
 ally known by this name, so I will not 
 depart from its time-honoured title. 
 Hold the coin between the fingers and 
 thumb of the left hand (as in Fig. 4), 
 and then appear to take it in the right 
 by passing the thumb under and the 
 fingers over the coin. 
 
 Under cover of the right hand the 
 coin is allowed to fall into the fingers of 
 the left, where by a slight contraction 
 it may be held between the first and 
 second joints, or it may be allowed to 
 fall into the palm proper. The right 
 hand must be closed and raised as if 
 it really contained the coin, and be 
 followed by the eyes of the performer ; 
 the left falling to the side, and if necessary dropping the 
 coin into the prof onde. This pass should be performed 
 equally well from either hand. 
 
 Fig. 4. 
 
 Le Tourniquet. 
 
 The Fingfer Falm. — Lay a coin on the fingers as shown 
 in Fig. 5. Then in the act of apparently placing ii in the 
 left hand, raise the forefinger slightly, and clip the coin 
 between it and the second finger. The left hand must now 
 
PBINCIPLES OF SLEIGHT OP HAND. 
 
 11 
 
 Fig. 5. THE Finger Palm. 
 
 close as if it contained the coin, and be followed by the 
 eyes of the performer, while the right hand disposes of the 
 coin as may be necessary. 
 I will give an illustration of the way in which this sleight 
 
 can be em- 
 ployed with 
 good effect. 
 Place a candle 
 on the table 
 to your left, 
 and then exe- 
 cute the pass 
 as above de- 
 scribed. The 
 thumb of the right hand should now close on the edge of 
 the coin nearest to itself and draw it back a Httle ; and at 
 the same time the candle should be taken from the candle- 
 stick between the thumb and fingers of the same hand. (See 
 Fig. 6. ) The left hand, which is supposed to contain the 
 coin, should now 
 be held over the 
 candle and opened 
 slowly, the effect 
 to the spectators 
 being that the coin 
 is dissolved into 
 the flame. Both 
 hands should at 
 this point be pjg, g. application of the finger Palm. 
 
 shown back and 
 
 front, as the coin, owing to its peculiar position, cannot be 
 seen at a short distance. You now take the upper part of 
 the candle in the left hand ; then lower the right hand to 
 the opposite end and produce the coin from thence, the 
 
12 CONJUBING FOR AMATEUBS. 
 
 effect being that the money is passed through the candle, 
 from one end to the other. 
 
 The Reverse Palm. — This is one of the most difficult 
 passes, but is exceedingly useful, and will therefore be found 
 to amply repay the student for any time he may spend in 
 its acquisition. 
 
 Commence by holding the coin between the first and 
 second fingers and the thumb. (See Fig. 7.) To execute the 
 pass, remove the 
 forefinger, and 
 bring it down 
 over the face of 
 the coin to the 
 bottom; at the 
 same time re- 
 move the thumb, 
 and the coin will 
 be found to be held by the first and second fingers at the 
 back of the hand. Practise this first with the hand at 
 rest, then brings the left hand down over the coin with a 
 kind of swoop as if you intended to take it in that hand. 
 In reality, however, while under cover of the left hand the 
 pass is made as described. The left hand is now closed 
 and raised as if it actually contained the coin, while the 
 right hand is seen to be empty. 
 
 To recover the coin, bend the tips of the fingers round 
 towards the palm, place the thumb on the coin and remove 
 the forefinger, when it will be found an easy matter to pull 
 the coin into the hand with the thumb. This may sound 
 rather intricate, but will be found quite clear if a coin be 
 actually taken in the hand, and the movements executed 
 while reading the instructions. 
 
 To give an idea of the value of this pass I will explain 
 
 Fig. 7. The Reverse Palm. 
 
PRINCIPLES OP SLEIGHT OF HAND. 13 
 
 two experiments performed by its aid. Make the pass 
 according to the previous instructions, and the right hand 
 will appear empty. The left hand now makes a movement 
 as if throwing the coin through the left knee, the right hand 
 being immediately lowered under the knee, and the coin 
 produced thence. Again make the pass and extend both 
 hands at arm's length away from the body, the left being 
 closed as if it contained the coin, and the right held open 
 palm towards the audience. Now draw attention to the 
 left hand, saying you will pass the coin thence into the 
 closed right hand ; and while all eyes are looking at the left 
 hand you reverse the position of the coin in the right hand, 
 which you forthwith close. It will now be found an easy 
 matter to pass the coin from one hand to the other. 
 
 To Change a Coin. — Sometimes, in order to bring about 
 a desired result, it is necessary to change, or in conjurers' 
 parlance to "ring," a borrowed and marked coin for a 
 substitute of your own. There are many ways of effecting 
 this, but having once mastered the various " palms " the 
 student will readily invent means for himself. The follow- 
 ing, however, is the one generally adopted by conjurers : — 
 
 Borrow a coin and have it marked. Then take it between 
 the fingers and thumb of the left hand, as in " Le Tourniquet" 
 (Fig. 4), having previously secreted the substitute in the 
 palm of the right. Now take the coin in the right hand, 
 and in doing so drop the substitute into the palm of the left, 
 which you immediately close, and remark, " You have all 
 seen me take the coin visibly from the left hand. I will now 
 make it return invisibly. " Saying this, you appear to throw 
 the coin into the left hand, really palming it, and showing 
 your own, which everyone- takes to be the original borrowed 
 one. You now proceed with the trick in question, disposing 
 of the marked coin as may be necessary. 
 
CHAPTER III. 
 
 TBICES WITH COINS. 
 
 Magfical Production of a Coin. — Gome forward with a 
 coin palnied in the right hand. Draw attention to the left 
 hand, showing it back and front as empty, and, as if in 
 illustration of what you say, give the palm a smart slap with 
 the right hand, leaving the coin behind, and slightly con- 
 tracting the fingers so as to retain it ; now show the right 
 hand empty, pulling up the sleeve with the left hand which 
 masks the presence of the coin, then close the left, and after 
 one or two passes over it with the right hand, produce the 
 coin. 
 
 The Wandering Coin. — Show a coin, holding it between 
 the forefinger and thumb of the left hand, and puUing up 
 the left sleeve with the right hand. Change the coin over 
 to the right hand, and pull up the right sleeve with the left 
 hand. Do this two or three times. Finally, when appear- 
 ing to take the coin from the left hand, push it back behind 
 the fingers, and with the right hand appear to rub it into 
 the left elbow : this brings the left hand close to the collar, 
 into which you drop the coin, (See "The Dress," p. 4.) 
 
 When performing this sleight myself, I make believe to 
 pass the coin from the elbow up into the left hand, then, 
 without showing it, appear to throw it into the air, and 
 remark : — " I dare say, Ladies and Gentlemen, you will have 
 
TRICKS WITH COINS. 15 
 
 noticed that on all coins of the realm there is on one side 
 a lady, and on the other side a gentleman " (this is not strictly 
 correct, but it is near enough for the purpose). " You will 
 now notice that the lady has eloped with the gentleman, 
 and that they are on a honeymoon, round the room ; but 
 they are coming back, and are now within a yard of my 
 fingers, and they are getting nearer and nearer." I now 
 extend the right hand, make a catch at an imaginary 
 coin, and continue — " Yes, I have it here " (my hand is 
 really empty), " but before showing it to you I propose to do 
 something else with it ; I will pass it invisibly along my 
 sleeve and produce it from the collar." Then, taking the 
 piece from the collar, remark : — " You see I had collared the 
 coin securely." 
 
 A New Coin Fold. — Take a piece of paper 4in. by 5in. , 
 place a coin on it and fold the top of the paper down over 
 the coin to within lin. of the bottom. Then fold the right 
 hand side of the paper under the coin, treating the left hand 
 side in a similar way. You must now fold the bottom 
 lin. of paper under the coin and you will, apparently, have 
 wrapped it securely in the paper ; but really it is in a kind 
 of pocket, and will readily shp out into either hand at 
 pleasure. 
 
 Allow several persons in the audience to feel the coin 
 through the paper, then take it from the left hand to the 
 right, letting the coin slip out into the left hand, which picks 
 up a plate from the table. You now burn the paper in the 
 flame of a candle, and, dropping the ashes on the plate, the 
 coin is found to have disappeared. 
 
 A pretty effect can be obtained if, instead of using a piece 
 of ordinary paper for the above, you make use of a piece of 
 " flash " paper, which when placed in the flame of a candle 
 vanishes entirely, leaving no trace behind. 
 
16 OONJtJBING FOR AMATEURS. 
 
 Coin and Candle. — Eepeat the last trick, using <* flash " 
 paper for the same and dispensing with the plate. When 
 about to burn the paper in the flame of the candle, stand 
 with the left hand, which contains the coin, holding the right 
 lappet of your coat. After the flash show the hand empty, 
 then take hold of the right lappet of the coat with the right 
 hand, and in doing so let the coin drop from the left hand 
 into it. The left hand immediately takes hold of the left 
 lapel, and both hands pull the coat open as if to show that 
 the coin is not concealed there. It is now a simple matter, 
 but very effective, to lower the right hand over the candle 
 and produce the coin apparently from the flame. 
 
 An Artful Conjurer.— Take a coin between the forefinger 
 and thumb of the right hand and address your audience as 
 follows : — " Ladies and Gentlemen, I am indebted to a friend 
 of mine for this trick. He was a very artful conjurer and 
 always told me that he placed the coin in his left hand " (make 
 a motion as if doing so, but really lower the coin behind the 
 last three fingers of the right hand), " but he did nothing of 
 the kind : he simply hid it behind those three fingers " (show 
 coin). " Then with a sweep of the arms, when he thought I 
 was not looking, he would quickly place the coin under his 
 arm " (twist the hands round rapidly and then appear to place 
 the coin under the left arm, but really palm it in the right 
 hand), " all the time directing my attention to the left hand, 
 and telling me the coin was there ; but of course that hand 
 is perfectly empty, inside and out " (to illustrate what you are 
 saying you give the palm a smart slap with the right hand, 
 leaving the coin behind), " the coin really being under the 
 arm. So it is when he does the trick, but not when I do it, as 
 you see the coin is in the left hand the whole of the time." 
 
 The above, as a sleight of hand feat, is, to my idea, 
 perfect, and never failsj when neatly performed, to gain 
 
TBICKS WITH COINS. 17 
 
 tremendous applause. Eobbed of its patter, however, it 
 would scarcely produce any effect. 
 
 The Invisible Plight.— Hold the coin between the fingers 
 and thumb of the left hand, looking at it yourself. From 
 this position appear to take it in the right hand by passing 
 the thumb under and the fingers over the coin. The coin is 
 really allowed to drop into the fingers of the left hand, which 
 contract slightly so as to retain it ; the right hand is closed 
 as if it really contained the coin and is followed by the eyes 
 of the performer. The palm of the left hand can now be 
 shown casually, when it will appear empty, the coin being 
 held between the first and second joints of the fingers, 
 which are slightly curled. The left hand is now closed and 
 the piece apparently passed from the right hand into it ; the 
 left hand is then slowly opened, disclosing the coin lying on 
 the palm. 
 
 The reader will have noticed that up to this point no 
 duplicate coins have been used, nor has it been necessary to 
 exchange one coin for another. This forms what may be 
 termed legitimate sleight of hand, and is to be recom- 
 mended ; but sometimes for the sake of > "^ect it is 
 really necessary to use a duplicate coin, and I will now 
 mention one or two instances. 
 
 For the following tricks a duplicate coin is prepared with 
 a very small hook attached to one side about Jin. from its 
 edge. This coin is placed in the performer's right vest 
 pocket, and is obtained by means of the following trick. 
 
 Vanish for Duplicate. — Holding the coin you have been 
 using in your right hand, you appear to place it in the left : 
 instead of doing so, however, you palm it. Close the left 
 hand as if it contained the coin, and then say that you will 
 pass it from that hand into your waistcoat pocket ; show the 
 
 
 
18 coNJURma for amateurs. 
 
 hand empty and then with the same hand take the duplicate 
 coin from the pocket. The other coin, you will remember, 
 remains palmed in the right hand. 
 
 To Pass a Coin Through the Body.— In continuation of 
 the preceding trick you place the left hand (holding the 
 hooked coin) behind the body and attach the coin to the 
 back between the shoulders, remarking : — *'I shall next un- 
 dertake a very difficult experiment, which consists in passing 
 the coin right through my body, commencing from behind, 
 up into my left hand " (as you say this you extend the hand 
 closed). Someone is almost sure to remark that the coin 
 may be in the hand already, to which you reply : — " Pardon 
 me, no, I would not deceive you by so mean an expedient. 
 See, the left hand is perfectly empty. If you perfer it I 
 will use the other hand, which is also quite empty.'* You 
 should have been holding the right hand, in which is the 
 palmed coin, well extended and open, with the back towards 
 the audience. The right hand will in nine cases out of ten 
 be chosen, but should you be called upon to use the left 
 you will have recourse to the method employed in the 
 "Magical Production of Coin" at the head of this chapter, 
 to get the coin into the left hand. Should the right hand be 
 chosen, you may, with some caution, remark : — ** Well, it's 
 just as well to have the right one, but still I left it to you." 
 
 All that remains for you to do now is to make believe, in 
 the most dramatic manner possible, that the coin is travelling 
 up the body, along the arm, and into the chosen hand, 
 whence you let it fall on to a table or chair. Should the 
 coin fall on the ground, you will be careful not to expose 
 the one on your back when picking it up. 
 
 Swallowing Illusions. — Having secured the coin again, 
 appear to place it in the mouth, palming it, and producing 
 
TRICKS WITH COINS. 19 
 
 it from the bottom of the vest. Eepeat this pass, and 
 remark : — " This time, by way of variation, we will stop 
 the coin when it gets half way down and give it a sharp 
 push" (strike yom: chest rather violently with both hands), 
 " which will have the effect of sending it right through the 
 body again." You now turn round and show the coin 
 sticking on your back. 
 
 Coin and Lemons. — Still keeping the coin palmed from 
 the last trick, remove the one from your back and hold it 
 between the forefinger and thumb of the left hand, from 
 which you take it as in the " Invisible FHght. " This time, 
 however, you do actually take it with the right hand, and 
 at the same time let fall from the right hand the coin con- 
 cealed therein. The left hand now contains a coin, but will 
 be thought to be empty. This movement is employed here 
 to satisfy the spectators that you are working with one 
 coin only, you having, without apparent design, shown both 
 hands empty, with the exception of the piece you are 
 using. 
 
 You now lay the hooked coin down on the table and go 
 behind the scenes for three lemons and a knife, which have 
 been placed there in readiness on a plate. One of the 
 lemons has a slit cut in it, into which you insert the coin 
 you have carried off. Coming forward with the lemons on 
 the plate, you force the choice of the one with the coin in 
 the following manner : — " Ladies and Gentlemen, I have 
 here three lemons. I only require one for the pm-pose of 
 my trick and I will ask you to decide which it shall be. 
 Which of the three do you prefer, the right or the left, or 
 the one behind ? " (The one behind is the prepared one. ) 
 If the one behind is chosen take it and proceed. If the 
 right or the left is chosen throw it to the person making 
 the selection, with the remark, " Thank you, I hope you will 
 
 3 
 
20 OONJUEING FOR AMATEURS. 
 
 find it sweet. " You will now have two left and you continue : 
 — " I have now only two lemons. Which one shall I taJce, 
 the right or the left? " If the prepared one is chosen take 
 it and proceed with the trick. If the other one is chosen 
 take it with the remark : — " Very good, then I will use the 
 one that remains for the purpose of the trick. " 
 
 You now force the knife into the lemon, inserting it in 
 the slit already made, and give it to someone to hold high 
 in the air. Now pick up the coin from the table and vanish 
 it by one or other of the means already described (a good 
 method is given in the next trick), and then have the fruit 
 cut open and the coin disclosed. 
 
 The above form of ambiguous questioning can be used 
 in any trick where it is essential that a particular article 
 be chosen. 
 
 You can avoid going behind the scenes by adopting the 
 following ruse : Go to the wing, and extending your hand, 
 in which is the coin, behind it, call out loudly to your 
 assistant — " Bring me those lemons, please. " In drawing 
 attention to the fruit it is perfectly natural for you to extend 
 your hand behind the wing and thus dispose of the coin. 
 
 The Pocket Vanish.— Take a coin in the right hand and 
 make believe to place it in the left, really palming it. The 
 left hand is closed as if it contained the coin and held away 
 from the body. The right hand pulls back the sleeve 
 slightly as if to show that the coin has not been vanished 
 in that direction. This movement brings the right hand 
 over the outside breast pocket of the coat, into which the 
 coin is allowed to fall unperceived. The coin is now 
 vanished from the left hand in the orthodox manner and 
 both hands are shown empty. 
 
 Should you desire to regain possession of the coin, have 
 the outside pocket made communicating with an inside one 
 
TEiOKs WITH coma 21 
 
 on the same side of the coat ; when, having shown the 
 right hand unmistakably empty, you produce the coin 
 thence, in a magical manner. 
 
 The preceding list of coin tricks has been arranged in 
 combination, the one to follow the other in a natural 
 manner, for an entertainment, as actually presented to an 
 audience. I cannot, however, leave the subject of coin 
 tricks without making mention of several other very decep- 
 tive experiments, which will doubtless be new to the 
 majority of my readers. 
 
 Florin v. Sixpence.— For this trick you will require a 
 florin and a sixpence, also a champagne tumbler with a 
 thick bottom. You prepare for the trick by palming a 
 florin in the left hand and showing a sixpence in the right. 
 Appear to place the sixpence in the left hand, really palm- 
 ing it, and picking up the tumbler with the same hand. 
 Stand the bottom of the tumbler on the supposed sixpence 
 in the left hand, which you have been careful not to let 
 anyone see, and then draw the attention of the bystanders 
 to the appearance of the coin as seen through the bottom ; 
 owing to the thick glass it will appear the same size as the 
 sixpence, which everyone believes it to be. Now place the 
 whole on the table and undertake to change the coin while 
 still under the tumbler. This is a simple matter, as you 
 have only to raise the tumbler and expose the florin. 
 
 To Pass a Coin into an Ordinary Matchbox held by 
 One of the Spectators. — Prepare a matchbox as follows : — 
 Push open the sliding portion about lin. Then fix between 
 the top of the slide and the back end of the box a coin, 
 the greater part of which is overhanging the box, the whole 
 being out of sight of the casual observer. Arranged thus, 
 give the box to someone to hold with instructions that when 
 
22 CONJURING FOR AMATEURS. 
 
 you count three the box is to be closed smartly. This will 
 have the effect of jerking the coin into the box. 
 
 You now take a duplicate coin and vanish it by means 
 of the " Pocket Vanish, " or any other convenient method, 
 counting " One 1 two ! three I " when, acting according to 
 your instructions, the person will close the box, and the coin 
 will be heard to fall inside. 
 
 Coin, Wine-glass, and Paper Cone.—This very pretty 
 and amusing table trick consists in causing a coin placed 
 under a wine-glass, the whole being covered with a paper 
 cone, to disappear and return as often as desired. 
 
 The following arrangements are necessary : — Take a wine- 
 glass, and, having placed a little gum aU round its edge, 
 turn it over on a sheet of white paper, and when dry cut 
 away the paper close to the glass. Obtain a Japanese tray 
 and on it lay a large sheet of paper similar to that covering 
 the mouth of the glass, and stand the glass, mouth down- 
 wards, on it. Make a paper cone to fit over the glass and 
 you are ready to present the illusion. 
 
 Borrow a sixpence and lay it on the large sheet of paper 
 by the side of the wine-glass ; cover the glass with the paper 
 cone, and place the whole over the coin. Command the 
 sixpence to disappear, and on removing the cone it will seem 
 to have done so, as the paper over the mouth of the glass, 
 being the same colour as that on the tray, effectually con- 
 ceals the coin. To cause it to reappear you replace the cone 
 and carry away the glass under it. This can be repeated as 
 often as desired. 
 
 To make the experiment more effective, use coloured 
 papw, which shows up against the coin more than white* 
 
 Coins, Hat, and Plate.— In this experiment a number of 
 borrowed and marked coins are passed invisibly into a hat 
 covered with a plate. 
 
tEICKS WITH coiNa 23 
 
 Obtain a small metal box large enough to contain half a 
 dozen coins of the kind you intend to use. This box should 
 be enamelled white and have an opening in one side large 
 enough for the coins to pass through. A common pill-box 
 would answer the purpose, but a metal one is preferable. 
 Place a Uttle wax on the top of the box and leave it, with 
 the plate, on a table at the rear of the stage. Borrow a 
 silk hat, which leave on your table. Then obtain the loan 
 of six marked coins, which you change for six of your own, 
 as you go back to the stage. Drop the latter coins into a 
 tumbler, or lay them in some other conspicuous position on 
 the table, and go to the rear of the stage for the plate. 
 Introduce the marked coins into the box, and attach it by 
 means of the was to the under side of the plate. Come 
 forward, and having shown the hat to be quite empty, place 
 the plate over it, being careful to note the position of the 
 hole in the side of the box. 
 
 You now take the coins from the glass and appear to 
 place them in the left hand, really palming them in the 
 right, which forthwith drops them into a Uttle box contain- 
 ing sawdust placed on the servante. The coins are retained 
 in the right hand by a slight contraction of the fingers, as 
 in "The Invisible Flight." They should be held in the 
 hand at the base of the thumb and jerked into position in 
 the act of apparently passing them from one hand to the 
 other. The pass called "Le Tourniquet" (Fig. 4) is a 
 better one for a number of coins. The noise of the 
 coins as they fall into the hand is quite natural, as 
 it would be almost impossible to actually take them 
 in silence. Now pick up the hat with the right hand, 
 holding it at arm's length; vanish the money from the 
 left hand in the usual way, at the same time tilting the 
 hat slightly in the right direction^ when the coins will be 
 heard to faU inside. 
 
^4 ooNJUEma for amateurs. 
 
 To Vanish a Marked Coin from a Tumbler and Cause 
 it to appear in a Small Box, wrapped in Paper, in the 
 Centre of a Large Ball of "Wool. — For this very surprising 
 trick you will require to make the following preparations : — 
 Procure a tumbler having a slit cut flush with, and parallel 
 to, the bottom, which should be flat. The opening should 
 be just large enough to allow a florin dropped into the 
 tumbler to slip through into your hand. (See Fig. 8.) 
 
 Obtain a small metal box large enough 
 to take the coin easily, also a flat tin tube 
 about Sin. long and just wide enough for 
 the florin to slide through it. Place one 
 end of this tube inside the box and close 
 the lid on it, keeping it in position by 
 passing an elastic band over the box. 
 You now wrap the box in paper and 
 wind a quantity of wool round it until 
 you get a large ball with the end of the 
 Fig. 8. tube projecting about lin. Place the ball 
 
 Prepared Tumbler, thus prepared on a table at the rear of 
 the stage and you are ready to perform. 
 Show the tumbler, and draw attention to the fact that it 
 is an ordinary one by filling it with water from a jug, which 
 can be done by placing the fore-finger round the slit. Ee- 
 turn the water to the jug and borrow a florin, which has 
 been marked by the owner, allowing him to actually drop 
 it into the glass. Cover the tumbler with a handkerchief, 
 shaking it continually to prove that the coin is still there, 
 and then place it down on your table, securing the coin 
 through the sHt as you do so. Going to the back of the 
 stage for the ball of wool, you insert the coin into the 
 tube and withdraw the latter, when the action of the 
 elastic band closes the box. Bring the ball forward 
 in a large glass basin and have the wool unwound. 
 
TRICKS WITH COINS. 25 
 
 disclosing the box; on this being opened the marked coin 
 will be found within. 
 
 To Vanish a Number of Coins from a Plate in a Sheet 
 of Flame. — Place a tea- plate near the rear edge of your 
 table, and a sheet of " flash " paper, large enough to cover 
 the plate, in front of it. You must also have another plate 
 on the servante and you are then ready to commence. 
 
 After performing any trick in which a number of coins 
 have been used, throw them on the plate, carelessly 
 dropping several on the table. Take up the plate in one 
 hand and the piece of paper in the other, and holding the 
 plate just behind the table, and over that on the servante, 
 apparently sweep the loose coins on to the plate you are 
 holding, really letting all fall on the hidden one, under 
 cover of the paper, which you immediately place over the 
 plate in your hand. 
 
 Everyone will now suppose the money to be on the plate 
 which, with studied carelessness, you bring forward just 
 over the flame of a candle burning on the table. The paper 
 ignites and disappears in a sheet of flame, and the plate is 
 found empty. 
 
 Programme and Coin. — The effect of this experiment, 
 which is an improvement on the old " programme and ring " 
 trick, as no stage assistant is required, is as follows : — The 
 performer borrows a marked shilling from a stranger in the 
 audience, immediately handing it to a gentleman to examine 
 the mark, date, and other items. While this is being done 
 the performer obtains the loan of a programme, which he 
 tears in half, laying one half on his table. The gentleman 
 is now requested to place the shilling in the half of the 
 programme held by the performer, who wraps it up and 
 gives it to him to hold. He now goes to his table for a 
 piece of sealing-wax, which he passes several times over the 
 
26 CONJUEING FOR AMATEURS. 
 
 packet held by the gentleman, when immediately it is found 
 transformed into a packet of three envelopes, made from 
 the programme, all gummed and sealed one inside the 
 other, with the marked shilling in the smallest one. As 
 the gentleman cannot see how it is done the performer 
 repeats the trick for his benefit with the other half of the 
 programme, but the result is the same. This time, how- 
 ever, the gentleman is requested to take the last envelope 
 to the owner of the coin, that he may open it and satisfy 
 himself that it actually contains his own shilUng. 
 
 The six envelopes are now rolled up and given to the 
 gentleman to hand to the lady, to keep as a souvenir of the 
 entertainment, but before he has proceeded far the per- 
 former tells him he has dropped one of them (he has not 
 really done so), and, failing to find it, he very naturally 
 begins to count those in his hand, when he discovers to hia 
 astonishment that he holds the programme restored. 
 
 Explanation, — ^After the performer has borrowed the 
 shilUng, in the act of handing it to the gentleman for ex- 
 amination, he adroitly changes it for one of his own bearing 
 the mark of a cross, which mark is of course taken for that 
 of the owner of the coin. The performer now asks for the 
 loan of a programme, and while one is being procured he 
 drops the actual borrowed coin into the smallest of thai 
 three envelopes which are placed one inside the other in the 
 right profonde. To faciUtate the introduction of the coin a 
 tin tube, with a rather wide mouth, just large enough for 
 the coin to pass through, is placed in the smallest envelope. 
 After the coin has been introduced this tube is with- 
 drawn, left in the pocket, and the envelopes closed. 
 
 The flaps of the envelopes are sealed with wax before- 
 hand and prepared with best gum arable, which is allowed 
 to dry hard. They are moistened with the tongue just as 
 you are about to commence the trick, and if out as in 
 
TEIOKS WITH COINS. 
 
 27 
 
 Fig. 9, can be closed all together while in the pocket. This 
 packet is laid on the table under cover of the half of the 
 programme used in the second stage of the trick. 
 
 To commence the trick the performer palms a similar 
 packet of envelopes containing another shilUng marked in 
 exactly the same way as the 
 one he handed to the gentle- 
 man, and, it is hardly neces- 
 sary to remark, being of the 
 same appearance, and bearing 
 the same date. When roUing 
 up the programme the per- 
 former retains it and hands 
 the gentleman the packet of 
 envelopes ; and when going to 
 his table for the wax leaves 
 the half of the programme 
 and the shilling thereon. By 
 the time the first shilUng is 
 taken from the envelopes the 
 packet containing the actual 
 borrowed coin will be dry 
 and ready for use. 
 
 The remaining portion of 
 the trick will now be under- 
 stood. "When the performer 
 goes for the other half of the 
 
 programme he takes the packet of envelopes with it and 
 substitutes it as before, and the trick proceeds as described. 
 When collecting the six envelopes for the final effect the 
 performer palms a duplicate programme which has been 
 lying on his table behind some object, and substitutes this 
 as before when handing the gentieman the envelopes to 
 take to the lady. 
 
 Fig. 9. 
 Packet of Thaee Envelopes. 
 
28 coNJURma for amateurs. 
 
 Providing you cannot obtain a programme in time to 
 make up the envelopes for the entertainment, the trick can 
 be performed with the cover of say Tit Bits, Purchase 
 three copies of the same date, one for the envelopes, one for 
 the subsequent restoration, and the other to " plant " with 
 a stranger in the audience, who, however, need know 
 nothing of the trick other than that he is to hand you the 
 cover of the paper when requested. 
 
CHAPTER IV. 
 
 TRICES WITH KANDEEBCHIEFS. 
 
 Peregrinations of a Handkerchief.— For the following 
 series of experiments you will require three 15in. silk hand- 
 kerchiefs (the best material for making these is fine quality- 
 sarcenet), an ordinary small sliding match-box, a candle in a 
 candlestick, and a conjuring wand ; also a false finger and 
 a conjuring pistol, hereafter described. 
 
 You prepare for the series of tricks by rolling up one of 
 the handkerchiefs very small and pushing it into the back 
 of the match-box, which you open about lin. for the 
 purpose ; another is rolled up and placed behind the 
 collar on the left hand side of the neck ; and the last is 
 loaded into the false finger and placed in the right hand 
 trousers pocket. You are now ready to commence. 
 
 HandkercMef and Candle.— ** Ladies and Gentlemen, 
 the following experiment was suggested to me at the age 
 of twelve while studying chemistry. I then learned that 
 all matter was indestructible. Proof of this, as you are 
 well aware, is afforded with an ordinary candle. You may 
 Hght the candle at one end and let it burn to the other, but 
 you do not destroy the matter of which it is composed. 
 What really takes place is the formation of new substances, 
 as hydrogen, carbon, water, etc., which any of the text 
 books on chemistry will explain. I will, however, give you 
 one striking illustration :" — 
 
30 CONJURINQ FOR AMATEURS. 
 
 Pick up the match-box and light the candle ; then close 
 the box, pushing the handkerchief into the right hand, and 
 throw it down on the table. Take the candle from the 
 candlestick and place it in the right hand, which masks the 
 presence of the handkerchief. You now appear to take 
 something from the flame of the candle with the left hand, 
 which you close as if it really contained an article. Open 
 the hand slowly, looking surprised to find you have failed, 
 and remark : — •' Well — really I cannot understand this. I 
 am generally successful with this trick. Oh I I know what 
 is the matter. You see, I am using the left hand ; if you do 
 things left-handed they cannot possibly be right. I will try 
 the right hand." Saying this, you place the candle in the 
 left hand and immediately produce the handkerchief from 
 the flame with the right, closing the hand as before. It 
 now only remains for you to open the hand and develop 
 the silk slowly. 
 
 To Vanisli a HandkercMef and Produce it from yoar 
 
 Collar.— Place your wand under your left arm. Take the 
 handkerchief and roll it up small, using both hands. Affect 
 to place the handkerchief in the left hand, really palming it 
 in the right, and take your wand from under the arm in the 
 same hand. Vanish the handkerchief from the left hand, 
 and take the one from your collar, immediately placing it in 
 the right hand to mask the presence of the one already 
 there, and lay the wand down on the table. 
 
 To Pass a Handkerchief into the Pocket of a 
 Spectator. — Obtain the assistance of a young gentleman 
 from the audience, and ask him to let you have the loan of 
 the outside breast pocket of his coat. Much fun is 
 generally caused by his removing his own pocket hand- 
 kerchief and sundry other curious articles. Place both 
 
TRIORS WITH HANDKEBOHIEFS. 31 
 
 handkerchiefs, which have all the time remained in the 
 right hand, in his pocket (you, of course, are supposed to 
 be using one only), and stand as far away as the limits of 
 the stage will allow, and say : — **Now, sir, do you think it 
 possible for me to remove the handkerchief from your pocket 
 without coming a step nearer to you than I am at present. " 
 He will probably look confused, and hardly know whether 
 to say Yes or No. Whatever he may say is all the same 
 to you, and you remark: — **My dear sir, do not look like 
 that ; your face is calculated to upset me altogether. I 
 scarcely know what I am doing. What I really intended 
 to do was to pass the handkerchief from my hands into 
 your pocket. " You now take the handkerchief from his 
 pocket, where, unknown to the spectators and probably the 
 gentleman himself, one still remains. You will now vanish 
 the handkerchief as in the last trick, and let the gentleman 
 take the one from his pocket, which will seem to be the 
 same. Take the handkerchief from him, place it in the 
 right hand, which again conceals the one in the palm, and 
 lay the wand down on the table. 
 
 To Fire a Handkerchief into a Gentleman's Hair.— 
 
 For the purpose of this trick you will have to make use of 
 what is known as a conjuring pistol, which, being in con- 
 stant use in magical surprises, I will describe. It consists 
 of an ordinary pistol fitted with a conical tin tube Sin. long. 
 The mouth of this tube is about 2in. in diameter and is 
 supplied with a tin cup IJin. deep, having its outer edge 
 turned over all round so as to afford a ready grip to the 
 palm. The conical tube is fitted with an inner tube to keep 
 it firm on the barrel of the pistol. (See Fig. 10. ) 
 
 Taking up the pistol, you place the two handkerchiefs, 
 which look hke one, in the cup ; push them well down and 
 remark ; — " I shall now fire direct at the gentleman's head, 
 
32 coNJUEma fob amateurs. 
 
 and after the shot the handkerchief will be found firmly 
 embedded in his hair, and will, not unlikely, be seen pro- 
 truding from each of his ears. It just depends on the force 
 of the shot, you know, and I need hardly say I loaded the 
 pistol myself, and am totally ignorant of fire-arms. Are 
 you ready, sir? then Good-bye I" Place the "muzzle" of 
 the pistol in the left hand while you shake hands with the 
 gentleman. In taking the pistol back into the right hand 
 to fire it, you leave the cup behind in the left hand, and 
 at the instant you pull the trigger, you drop it into your 
 pocket on the left side. When discharging the pistol you 
 will, of course, stand with your right side to the audience. 
 
 Fig. 10. Conjuring Pistol. 
 
 You now ask the gentleman to take the handkerchief 
 from his hair, telling him it is just behind his left ear (of 
 course it is not really there) ; and while he is trying to find 
 it you stand with your hands in your trousers pockets, 
 telling him to make haste, you cannot wait all the evening, 
 etc. When he has tried some time and failed to find it 
 you take your hands from your pockets, having got the 
 false finger into position between the second and third 
 fingers. Showing the hands back and front (the addition 
 of an extra finger will not be noticed), you pass them 
 several times over the head of the gentleman, then lowering 
 the hands on to his head you detach the finger and draw 
 out the handkerchief. The false finger is laid down on the 
 table under cover of the handkerchief. 
 
TRICKS WITH HANDKERCHIEFS. 
 
 The finger is made of thin spun brass paiated flesh colour ; 
 it is quite hollow from tip to root, and is shaped for fitting 
 between the second and third fingers (see Fig. 11). It can 
 
 Fig. 11. False Finger. 
 
 be used in many tricks with handkerchiefs, and is really an 
 indispensable accessory. 
 
 This concludes the series alluded to in the beginning of 
 this chapter. I will now describe a number of handker- 
 chief tricks complete in themselves. 
 
 '^^^^^ 
 
 The Handkerchief Cabinet. 
 
 — This very useful piece of 
 apparatus should be in the 
 repertoire of every amateur 
 magician, as it is available for 
 producing, changing, or vanish- 
 ing a handkerchief. Its secret 
 Ues in the fact that it contains 
 two drawers, bottom to bottom, 
 the lower one being hidden by 
 a sliding panel. When standing 
 on the table the top drawer only 
 is visible, and the cabinet looks 
 the picture of innocence, but if 
 turned over and stood on its 
 opposite end, the sliding panel 
 
 faUs, exposing the hidden drawer, and hiding that which 
 for the time being is at the bottom (see Fig. 12). The 
 'jabinet is about 2in. square by 4in. high. 
 
 D 
 
 •^ 
 
 Fig. 12. 
 Handkerchief Cabinet. 
 
34 CONJURING FOR AMATEURS. 
 
 If required for production you proceed as follows :- 
 Having placed a silk handkerchief in the concealed drawer, 
 introduce the cabinet, take out the empty drawer, and give 
 it for examination. Eeplace the drawer, secretly turn over 
 the cabinet, and place it on your table. You now go 
 through any form of incantation you please, open the 
 drawer and take out the handkerchief. 
 
 If you desire to vanish a handkerchief you will have it 
 placed in the drawer by one of the spectators, and while 
 going to the table turn over the box. When the drawer is 
 opened the handkerchief will have disappeared* 
 
 Should you wish to change one handkerchief for another 
 you will beforehand conceal say a red handkerchief in the 
 cabinet ; then taking a white one, have it deposited in the 
 upper drawer, turn over the cabinet as before, pull out the 
 now uppermost drawer, and produce the red handkerchief. 
 
 From the foregoing description it will be obvious that 
 the cabinet is capable of being used in conjunction with 
 many tricks. 
 
 The HandkercMef Vauislier. — One of the best 
 appliances for causing the disappearance of a handkerchief 
 may be made from a small celluloid ball as follows : — Obtain 
 a ball l|in. in diameter, which will take three small silk 
 handkerchiefs if desired, and cut a lin. hole in any part of 
 its surface. On the side of the ball opposite the opening 
 fix a loop of flesh-coloured thread, long enough to pass 
 easily over the thumb, and to suspend the ball on the back 
 of the hand so that it does not hang too low. 
 
 When required for use the ball is taken up secretly under 
 cover of the handkerchief, and the thumb of the left hand 
 is passed through the loop. Then, while appearing to 
 roll up the handkerchief, it is worked through the open- 
 ing into the ball, which is instantly pushed over to the 
 
TRICKS WITH HANDKEE CHIEFS. 35 
 
 back of the left hand under cover of the right. The palma 
 of the hands are now shown empty, when the handker- 
 chief will seem to have vanished entirely. When using the 
 vanisher you will, of course, stand with your right side to 
 the audience. 
 
 It is well to be provided with two or three of these 
 accessories, in different size^. 
 
 Magical Production of Handkerchiefs. — The performer 
 comes on the stage showing both hands empty, back and 
 front. He then pulls up both sleeves and immediately 
 produces a white silk handkerchief, about 18in. square, 
 which he passes for examination. Then by simply shaking 
 the handkerchief he obtains from it about half a dozen 
 other coloured ones about 15in. square. The coloured 
 handkerchiefs are then caused to vanish by simply rolling 
 them up in the hands, being immediately afterwards 
 reproduced, all tied together by the corners, from the white 
 one. 
 
 The necessary preparations for the trick are as follows : 
 — A slit Jin. long is made in the seam of the trousers at 
 the right knee, and two of the coloured handkerchiefs, 
 each having a minute piece of blackened cork tied to one 
 corner, are pushed into this slit, the corks being left pro- 
 truding to enable the performer to instantly draw them out. 
 Two handkerchiefs of different colours are placed in the 
 pochette on the left side. A fifth handkerchief, also pre- 
 pared with a piece of cork, is placed in the front of the 
 vest, the cork protruding through the watch-chain hole. 
 It may seem impossible, but the silk may be drawn through 
 this hole very rapidly, and qmte easily, as will be found by 
 experiment. A sixth handkerchief is contained in the false 
 finger (previously described), which should be placed in the 
 right hand trousers pocket. 
 
 D 2 
 
3o OONJUBING FOR AMATEURS. 
 
 As the handkerchiefs are produced they are thrown over 
 the back of a chair fitted with a network servante (Fig 1, 
 page 6), behind the top rail of which are suspended two 
 vanishers of the kind already described ; also the ball of sis 
 duplicate handkerchiefs all tied together by the corners. 
 
 The trick is worked as follows : — The white handkerchief 
 is rolled up into a small compass and tied with a piece of 
 silk just strong enough to hold it. It is then placed in the 
 hollow of the arm at the elbow, the arm being bent slightly 
 so as to retain it in that position. When pulling back the 
 sleeves the performer secretly obtains possession of the 
 handkerchief, breaks the thread, and develops it slowly. 
 
 Having had the handkerchief examined, and while hold- 
 ing it by two corners, spread it over the knee as if drawing 
 attention to the fact that it is empty. Then, in the act 
 of raising it, shaking it the whole of the time, pull the 
 two coloured ones through the seams, and while developing 
 these take the two from the pochette on the left side. 
 Place the white handkerchief in the left hand to conceal 
 the coloured ones, and throw the other two over the back 
 of the chair. Now produce the two in the left hand in a 
 similar manner, and throw them over the chair with the 
 two already there. Then take the white handkerchief by 
 two comers, and while turning it round to show both 
 sides, seize the piece of cork at the buttonhole of the vest, 
 and produce the fifth handkerchief, throwing both over the 
 back of the chair. 
 
 For the production of the last handkerchief a little patter 
 is desirable. " Ladies and Gentlemen, I dare say you will 
 wonder where I get these handkerchiefs from. The other 
 evening I overheard two gentlemen conversing in the stalls. 
 One said to the other, ' Don't you see where he gets those 
 handkerchiefs from ? They came down his sleeve. ' The 
 other said, ' Oh I no, they don't. He takes them from his 
 
TRICKS WITH HANDKERCHIEFS. 37 
 
 pockets, for I saw him. ' " Saying this you thrust the hands 
 into the pockets by way of illustration, and fix the finger in 
 position. Then withdraw the hands, placing the palms 
 together, and continue: — "Now, I wish to prove to you 
 that both of these gentlemen were wrong. If the hand- 
 kerchief comes down the sleeve you will be sure to see 
 it. If it comes from the pocket you wiU also see it. My 
 hands are perfectly empty " (show hands). " Now watch 
 closely and see if you can detect me." You now bring the 
 hands together, reverse the finger, and shake out the hand- 
 kerchief ; and when laying it with the others on the chair, 
 drop the finger into the servante. 
 
 To cause the disappearance of the handkerchiefs proceed 
 as follows: — Take up three of the coloured ones, at the 
 same time secretly obtaining one of the vanishers, and, 
 with an up and down motion of the hands work them into 
 the ball. Then pass the ball to the back of the hand, 
 and show the palms empty. 
 
 When taking up the other three handkerchiefs drop the 
 vanisher into the servante, secure the other one, and pro- 
 ceed as before. Then take up the white handkerchief, 
 again disposing of the vanisher into the servante, and 
 securing the baU of six tied together. Finally wave the 
 white handkerchief up and down, and gradually work out 
 the coloured ones, one after another. 
 
 Colour-cliaxigiug Haudker chiefs.— The effect of this 
 trick, which is one of the best in the whole category of 
 sleight of hand feats, is as follows : — Three white handker- 
 chiefs are pushed into a paper tube, and as they come out 
 at the opposite end they are seen to be dyed respectively 
 red, yeUow, and green. The paper is then unrolled and 
 torn in half, when the white handkerchiefs are found to 
 have vanished entirely. 
 
38 
 
 CONJURING FOE AMATEUBS. 
 
 To perform the trick you must be provided with a piece 
 of drawing-paper lOin. by Sin. (a leaf from a plain drawing- 
 book will answer the purpose admirably), three very fine 
 white silk handkerchiefs 15in. square, and three coloured 
 ones of the same size and texture. The last of the coloured 
 handkerchiefs to appear at the end of the tube is prepared 
 as follows : — Take a piece of l|-in. brass tubing, 3in. long, 
 and insert it in the middle of one side of the handkerchief 
 (Fig. 13), by covering it with a piece of silk of the same 
 
 colour. This piece 
 
 -f^l^^^Pj ^ of silk is extended 
 
 beyond the tube, as 
 shown, to form a 
 kind of pocket. 
 
 To prepare for 
 the trick push the 
 body of the hand- 
 kerchief into the 
 brass tube at the 
 end A, and the 
 other two coloured 
 ones on the top of 
 it. The piece of 
 paper is laid on the 
 table with the tube 
 of handkerchiefs 
 three white handkerchiefs are 
 
 A 
 
 Fig. 13. 
 Handkerchief fitted with Brass Tube. 
 
 under its rear edge. The 
 then laid across the paper. 
 
 To perform the trick stand on the left of your table and 
 take up the paper with the right hand, the left hand keep- 
 ing the white handkerchiefs in front of the tube of coloured 
 ones. Draw attention to the fact that the paper is 
 unprepared, then lay it on the table in such a manner 
 that it again conceals the tube, and take up the white 
 
TEICKS WITH HANDKERCHIEFS. 39 
 
 handkerchiefs. Show the handkerchiefs, remarking that 
 they are of the ordinary description, and then lay them on 
 the table. Pick up the paper, and with it the coloured 
 handkerchiefs, which are held behind it with the thumb of 
 the right hand. 
 
 You now form the paper into a tube round the coloured 
 handkerchiefs and hold it in the left hand. Pick up the 
 white handkerchiefs one at a time, place them in the left 
 hand with the tube, and remark: — "I will now pass the 
 white handkerchiefs through the cylinder, first, however, 
 showing you that it is perfectly empty." As you say this 
 you take the handkerchiefs in the right hand, and as if to 
 illustrate what you say, place them near the mouth of the 
 tube. This gives you the opportunity of dropping the 
 coloured handkerchiefs into the white ones. The cyUnder 
 is now shown empty, and the white handkerchiefs are pushed 
 into one end of it ; care being taken to introduce the 
 coloured ones first, and to keep them out of sight of the 
 audience. You now grasp the brass tube tightly through 
 the paper and press the white handkerchiefs into it. 
 This, of course, pushes out the coloured handkerchiefs, 
 which appear at the other end of the cylinder, the 
 white ones being concealed in the body of the last coloured 
 one. 
 
 When performing the trick it is necessary to be care- 
 ful to insert the right end of the brass tube into the 
 paper cyhnder, otherwise the experiment would not be 
 successful. 
 
 The following is the method of presenting the above trick, 
 with appropriate "patter" : 
 
 "For the purpose of my next experiment I shall make 
 use of this square-loo^ng piece of paper, in which you can 
 see there is nothing concealed, not even a trap door. Well, 
 if there was anything concealed from your view, you wo\ild 
 
40 CONJUEING FOE AMATEUES. 
 
 be sure to see it." Laying the paper down and taking 
 up the handkerchiefs, you continue, " In addition to the 
 paper, I propose to make use of these three pieces of silk, 
 or silk in pieces, commonly known as art white squares. 
 I am afraid, however, some people would prefer to call 
 them subdued white ; possibly dirty white, if it were not 
 for the liberty of the thing, but I know they call them art 
 white in Eegent Street, because I suppose they find them 
 sell better." 
 
 Laying the handkerchiefs down, you take up the paper 
 with the tube behind it, and, prior to forming the cyUnder, 
 remark: — "This experiment was suggested to me while 
 travelling on the underground railway. I always travel by 
 that line when possible, being fond of scenery. The other 
 day I had occasion to take a return single from Portland 
 Eoad to King's Cross ; and while passing through those 
 tunnels I noticed that my linen changed colour considerably, 
 which suggested to me this illustration. With the piece of 
 paper I will form a kind of tube or tunnel to represent for 
 the time being one of those cavities on the underground 
 railway." 
 
 Make the tube and continue : — " There it is, as free from 
 deception as I am. I will now take the handkerchiefs" 
 (take up the handkerchief s from the table) "and pass them 
 through the cylinder " (drop the coloured handkerchief s into 
 the white ones and show the tube empty), "first, however, 
 showing you that it is perfectly empty. Then, having 
 satisfied you that there are no trains on the line, I will pass 
 the handkerchiefs through the tunnel." 
 
 As the coloured handkerchiefs appear at the opposite 
 end of the tube, remark : — " I may say that I have 
 been getting my living for some considerable time by 
 conjuring. You will now notice that I am beginning to 
 dAje by it." 
 
TRICKS WITH HANDKEROHIEPS. 41 
 
 Mechanical "Pull" for Vanishing a Handkerchief.— 
 
 The construction of this contrivance is very simple, and it is 
 absolutely instantaneous in its action, the quickest eye being 
 unable, even at close quarters, to detect the flight of the 
 handkerchief. 
 
 It consists of two straps, one for each arm, which are 
 buckled on just above the elbows. One of the straps carries 
 what is known to mechanics as a " lazy " pulley, working 
 freely in all directions, and provided with a shield, so that 
 the cord cannot possibly leave the wheel ; and the other 
 
 Fig. 14. Mechanical "Pull" for Vanishing a Handkerchief.— (a) Leather 
 Strap; {b) Brass Plate; (c) Pivot; (d) Brass Hinge; (e) PuUey in Shield; (l) Left 
 Arm ; (r) Right Arm. 
 
 carries a metal " D " loop. A cord is tied to the " D " loop, 
 passed over the back, round the pulley on the left arm, 
 back- again and down the right sleeve ; the end of the cord 
 being furnished with a loop to receive a handkerchief. The 
 apparatus must be attached to the arms underneath the 
 shirt, and when in such a position that the arms may be 
 moved about freely, the loop should be in the centre of the 
 back, as shown in Fig. 14. 
 To enable the artiste to obtain possession of this loop, a 
 
4:2 CONJURINQ FOB AMATEURS. 
 
 black thread is passed through it, doubled and carried down 
 the right sleeve, the two ends hanging out of the cuff so as 
 to be readily found by the fingers. Having found the 
 thread, the performer pulls it down until the loop appears, 
 which is forthwith passed round the thumb, the thread 
 being broken and allowed to fall on the floor. The act of 
 pulling the cord to secure the loop will pull the elbows close 
 to the sides, where they must be kept untU the handkerchief 
 is to disappear. 
 
 Having placed the handkerchief through the loop, which 
 should be of catgut, as being semi-transparent, push it into 
 the glass tube as described in the next trick, and place the 
 hands one over each end. To cause the handkerchief to 
 disappear all that is necessary is to move the elbows away 
 from the sides while making a quick up and down motion 
 with the glass cylinder, slightly lifting the base of the 
 right hand from the edge of the glass to allow the silk to 
 pass up the sleeve. In moving the elbows away from the 
 sides a pull of from 3ft. to 4ft. is put on the cord, the hand- 
 kerchief flying up the sleeve and finally occupying a position 
 in the centre of the performer's back. 
 
 Tlie Plying Handkerchief.— This is a very surprising 
 trick, and a favourite with the most noted prestidigitateurs. 
 It depends chiefly for its effect on the " Mechanical Pull " 
 (Fig. 14). For its execution you must be provided with 
 six small silk handkerchiefs (two red, two yellow, and two 
 green), also two glass cylinders of the kind used for gas. 
 
 The idea of the trick is to cause a red silk handkerchief 
 placed in the centre of one of the glass tubes, the ends being 
 covered with the hands, to disappear, and be found between 
 a yellow and a green handkerchief previously tied together, 
 roUed up into the shape of a ball, and placed in the other 
 cylinder. It is accomplished thus : — 
 
TEICKS WITH HANDKEECHIEPS. 43 
 
 Three of the handkerchiefs, one of each colour, are tied 
 together by the corners, the red being in the centre. They 
 are then rolled up into the shape of a ball so that the red 
 one cannot be seen, and thus prepared, are laid on the table 
 behind the other red handkerchief. 
 
 The performer now takes the two remaining handkerchiefs, 
 one yellow and one green, and ties them together, rolling 
 them up to look as near like the duplicate ball as possible. 
 Holding this ball in the right hand, he takes up the red 
 handkerchief, and with it the ball of three. He then takes 
 the red handkerchief in his right hand, passing the ball 
 into the left, and forthwith pushing it into the glass cylinder 
 on the table. Under cover of the red handkerchief, how- 
 ever, the balls are exchanged and that of three is actually 
 placed in the tube. 
 
 While going for the other cylinder, which should be on a 
 table at the rear of the stage, the performer has ample time 
 to dispose of the ball of two, and to get down the "pull." 
 When introducing the cylinder remark : — " You see, Ladies 
 and Gentlemen, that the tubes are of the most ordinary de- 
 scription and perfectly free from preparation ; in fact, you can 
 see right through them. I hope you wiU not be able to see 
 through me quite so easily." The red handkerchief is then 
 inserted in the cyhnder, being previously passed through the 
 loop, whence it is caused to vanish as described. The hand- 
 kerchiefs are then taken from the tube on the table, unrolled 
 and shaken out ; when, by some unaccountable means, the 
 red one will appear to have tied itself between the other 
 two. 
 
 Brass Tube to Frodnce, Vanish, or Change a Hand- 
 kerchief.— This is really an indispensable piece of apparatus 
 and should be in the repertoire of every wizard. It consists 
 of a piece of IJin. brass tubing din. long, with two caps of 
 
44 OONJUBING FOR AMATEUES. 
 
 the same metal to close the ends. A handkerchief is in- 
 serted in the tube and the caps are immediately placed on ; 
 but notwithstanding this, the handkerchief disappears, or 
 can be changed to another of a different colom*. 
 
 The apparatus really consists of four pieces, the tube and 
 the two caps, with the addition of a cup, l|in. deep, made 
 to fit easily into either end of the tube, and provided with 
 a flange as in the magic pistol already described, to enable 
 the performer to palm it off (see Fig. 15). This cup is not 
 provided with a bottom, but is fitted with a piece of fin. 
 tape fixed at each side, in the centre of the tube, in such a 
 manner that a loop hangs down flush with, and forming a 
 bottom common to, either end of the cup (as at a] 
 
 Fig. 15. Brass Tube for Handkerchief Tricks. 
 
 I will explain the method employed in changing say a 
 white handkerchief for a red one, after which the other 
 uses of the tube will be apparent. Load a red hand- 
 kerchief into the cup at the end a, and place it under 
 your vest, or in the right-hand trousers pocket. Give the 
 tube and caps for examination, and while they are out of 
 your hands, get possession of the cup and palm it in your 
 right hand. Take back the tube with the left hand, pass 
 it into the right, and over the cup ; and fit the cap to the 
 opposite end. Turn over the tube, and with the right 
 hand apparently place the white handkerchief into it (the 
 handkerchief really goes into the cup and pushes the red 
 one into the tube, reversing the tape). Now place the 
 right hand over the cup, reverse the tube, and remark : — 
 
TRICKS WITH HANDKERCHIEFS. 45 
 
 " As the cap has been on this end the whole of the time, it 
 has not been possible for the handkerchief to escape in that 
 direction. We will now place a cap on the opposite end of 
 the tube and we have the handkerchief secure." Saying 
 this, you reverse the tube, palming off the cup as you do 
 so ; and while holding the tube in the same hand, to hide 
 the palm, fit on the cap. Give the tube to someone to 
 hold and drop the cup into the profonde, or otherwise 
 dispose of it at the earhest opportunity. On removing 
 the caps the handkerchief will be found to have changed 
 colour. 
 
 At this point a good combination trick can be worked by 
 the use of two duplicate handkerchiefs as follows : — Have a 
 dupUcate red handkerchief hanging over a chair, on the 
 back of which is suspended a network servante. Another 
 duplicate white handkerchief should be in readiness in the 
 back of a matchbox for producing from the flame of a 
 candle as previously described. 
 
 When handing the gentleman the tube which is sup- 
 posed to contain the white handkerchief, you take up the 
 red one from the back of the chair, and at the same time 
 dispose of the palmed cup by dropping it into the servante. 
 The red handkerchief is now vanished by sleight of hand, 
 or can be fired from the magic pistol, and eventually 
 found in the brass tube. 
 
 To account for the disappearance of the white hand- 
 kerchief you may remark : — " Oh, I dare say the white 
 handkerchief has jumped out of the tube to make room 
 for the red one. It has probably found its way into the 
 candle on the table. " To conclude the trick you light the 
 candle and produce the handkerchief from the flame. 
 
 The tube can be used in many ways in combination with 
 other tricks, but I must leave these to the ingenuity of 
 the performer. 
 
CHAPTER V, 
 
 TBICKS WITH BALLS. 
 
 Creation, Manipulation, Multiplication, and Annihi- 
 lation of Billiard Balls. — For the series of tricks hereafter 
 described, you will require two solid billiard balls, and a 
 case to contain one of the balls, consisting of two hemi- 
 spheres of thin spun brass hinged together. When closed 
 this case will represent a solid ball, but when open and held 
 in the hand with the thumb over the hinge, will appear as 
 two balls. The balls, together with the case, should be 
 enamelled red. When about to present the trick, come 
 forward with the case containing a sohd ball in the left 
 breast pocket, and the other solid ball under the left 
 armpit. 
 
 Creation. — Pull up the right sleeve and then the left 
 one, which gives you the opportunity of taking the ball in 
 the right hand unperceived. You now execute what is 
 known as the " Change-over Palm" to show both hands 
 empty, and then produce the ball from the back of the 
 right hand. This palm is made as follows : Having got 
 the ball into the right hand draw attention to the left with 
 the fingers of the right, showing it back and front. When 
 doing this you will be standing with your right side towards 
 the audience. Now make a sharp half turn to the right 
 and show the right hand in the same manner. This you 
 will be able to do, as when making the turn the palms of 
 
TRICKS WITH BALLS. 
 
 47 
 
 the hands very naturally passed over each other, and the 
 ball was transferred from the palm of the right hand to that 
 of the left. 
 
 The ball is now found on the back of the right hand. 
 
 Maniptdation. — The amount of manipulation possible 
 with a single ball is considerable, and limited only by the 
 
 Fig, 16, Revolving Ball. 
 
 dexterity of the performer. The principles of sleight of 
 hand as described in Chapter IT. will, with few excep- 
 tions, be found equally adaptable to this branch of the 
 mystic art. For the benefit, however, of those of my 
 
 readers who have not 
 hitherto made sleight 
 of hand a study, I ap- 
 pend a few examples. 
 
 1. Having obtained 
 the ball from the back 
 of the right hand, place 
 it between the two fore- 
 fingers (as in Fig. 16). 
 Then twist the fingers 
 
 Fig. 17. Ball in Position on Right Hand. 
 
 round and round, which will cause the ball to revolve with 
 them. This produces a very pleasing and puzzling effect, 
 
48 CONJimiNG FOR AMATEXJRS. 
 
 and is to all appearance a feat of dexterity. It requires, 
 however, very little practice. 
 
 2. Close the right hand and place the ball on the top 
 (as in Pig. 17). From this position appear to take it in the 
 left hand, really allowing it to sink down into the palm of 
 the right, where it is retained. Vanish the ball from the 
 left hand in the usual manner, and produce it from the left 
 elbow. 
 
 3. Eoll the baU between the palms of the hands as if 
 you were trying to make it smaller. When the left hand is 
 underneath, seem to close it over the ball, really palming it 
 in the right hand. The left hand is now brought down 
 rather smartly on the back of the head, and the baU pro- 
 duced from the mouth. 
 
 4. Place the ball between the teeth and, apparently, 
 give it a smart rap with the right hand as if to force it into 
 the mouth. The baU, however, is palmed in the right 
 hand, and immediately taken from the back of the head. 
 When producing the ball, pass it up the back and over the 
 top of the head, and let it fall into the left hand. 
 
 5. Appear to take the ball from the left hand, as in ** Le 
 Tourniquet " (p. 10). Then apparently pass it through the 
 left knee, producing it from imderneath. 
 
 6. Throw the ball several times from one hand to the 
 other, and finally, when appearing to throw it into the right 
 hand, palm it in the left. Vanish the ball ; place the left 
 hand to the nose ; and let the ball fall into the right hand. 
 To aU appearance it actually comes from the nose. 
 
 7. Stand with the left side to the audience, and throw 
 the baU into the air several times. At the third time palm 
 it in the left hand ; the effect being that the baU is vanished 
 into thin air. Now perform the " Change-over Palm," 
 described above, and find the baU at the back of the right 
 knee. 
 
TEICKS WITH BALLS. 49 
 
 8. Apparently transfer the ball from the right hand to 
 the left, really palming it. Place the palm of the right 
 hand (containing the ball) on the right breast, and thence 
 extend it over in the direction of the left sleeve. In the act 
 of doing this, the ball leaves the palm and is held between 
 the forearm and the body ; the hand, turned palm towards 
 the audience, then pulls up the sleeve. You then blow on 
 the left hand to vanish the ball, and show the hand empty. 
 
 To regain possession of the ball, all that is necessary is to 
 reverse the motion of the arm, when the ball will find its 
 way into the palm of the hand, and can be produced as 
 fancy suggests. 
 
 If the ball is not produced, the above forms an excellent 
 final vanish to any biUiard-baU trick. 
 
 If used as a vanish, after having regained possession of 
 the baU, you stand with the hands one on each lappet of 
 the coat, bow, and retire. 
 
 This pass, which I have found practical in every way, 
 was given to me by Mr. George Newman, a very clever 
 amateur conjurer. 
 
 The following explanations will to some extent be given 
 in the " vernacular, " it being assumed that the student has 
 become famihar with the various passes. 
 
 Multiplication, — You must now obtain possession of the 
 trick ball, which can be done by means of the following 
 ruse, Appear to place the ball in the left hand, vanish, 
 and take it from the left breast pocket. In doing so you 
 take out the trick ball, leaving the solid one behind. 
 
 For two balls. — Take the trick ball in the left hand, and, 
 waving the hand up and down, open the shell, placing the 
 thumb over the joint, when you will appear to have two 
 balls in the left hand. To show these as two solid balls, 
 oi;ie in each hand, take the ball out of the case, which 
 
60 CONJUBma for AMATEUEa 
 
 forthwith close. This can easily be done under cover of 
 the right hand. Draw attention to the ball in the left 
 hand, and remark, " One, and this one " (ball in right 
 hand) "make two." As you say this you appear to place 
 the ball in the left hand, really opening the case to re- 
 present two balls, and palming the solid one in the right 
 hand. 
 
 For three balls. — Produce the ball you have palmed from 
 behind the left knee, and really place it with the two others 
 (case open) in the left hand. Wave the left hand up and 
 down, and under cover of the movement allow the soHd 
 ball to slip into the case. Then produce the ball previously 
 left in the breast pocket, and you will seem to have passed 
 a ball up your sleeve. 
 
 For four balls. — Draw attention to the two balls now in 
 the left hand (case open, with a solid baJl in one half) and 
 remark, " Two, and this one " (ball in right hand) " make 
 three." Saying which, you apparently place the ball in the 
 left hand, really palming it as before, and dropping the ball 
 out of the case under the cover of the right hand. You 
 now find the palmed ball at the left elbow, and really place 
 it with the other three in the left hand. You will now 
 appear to hold four soUd balls. 
 
 Annihilation. — Appear to take a ball in the right hand, 
 really allowing one to fall into the case. Vanish this ball 
 in the act of throwing it to the audience. You now actually 
 take another soHd ball in the right hand and exclaimi "I 
 will vanish this one into thin air. Watch me." Actually 
 throw the ball into the air several times, and while doing 
 this lower the left hand, and drop the sohd baJl out of the 
 case into the profonde, making a movement that the audience 
 cannot fail to notice. Thinking they have caught you, 
 someone is sure to remark, " I saw him put one in his pocket 
 that time." To which you will reply, " Oh, no, I did not 
 
TRICKS WITH BALLS. 51 
 
 put any in my pocket. I would not deceive you in such a 
 manner. Two and one " (the one in the right hand) " make 
 three." You now really place the ball in the left hand. 
 
 Again appear to take a ball in the right hand, letting it 
 fall into the case as before. Then vanish it in the act of 
 apparently throwing it inta the air. Wave the left hand 
 up and down, and under cover of the movement close the 
 case, which will dispose of the third ball. 
 
 Finally, make believe to take this last baU in the right 
 hand, standing with your right side to the spectators. 
 Instead of doing this, however, the case is opened, under 
 cover of the right hand, and the solid baU extracted. The 
 right hand is then closed over the baU so that it cannot be 
 seen, and the left hand quietly places the case in the pro- 
 fonde. It is well to again let this movement be suspected. 
 Then, looking at the right hand, remark : " I have now 
 only to dispose of this last baJl." At this point someone 
 is almost sure to say, " Oh 1 but I saw you put it in 
 your pocket." You will then cause considerable amuse- 
 ment to the spectators, and bring derision on the party 
 with the voice, by showing the ball in the right hand. 
 
 To cause the disappearance of the last ball make use of 
 the pass described under Example 8 (p. 49). 
 
 Billiard Balls and Basins.— For the purpose of this 
 trick you will require two small basins and two tea plates. 
 The plates are to act as covers for the basins. In addition 
 to these paraphernalia you will require two indiarubber 
 balls to match in size and colour the ordinary billiard balls. 
 The effect of the illusion is as foUows : — The two basins 
 are shown empty, and each is covered with a plate. In the 
 course of the preceding biUiard-baU trick, or a portion of 
 the same, two balls are vanished, afterwards appearing in 
 the basins. 
 
 E 2 
 
62 CONJURING FOR AMATEURS. 
 
 To prepare for the trick, place one of the basins, contain- 
 ing one of the balls, on the table, and cover it with one of 
 the plates. On the top of this plate place the other basin, 
 containing the second ball, covering the same v^ith the 
 remaining plate. 
 
 When about to present the illusion, you take the top 
 plate in the left hand, and the basin in the right, fingers 
 inside and thumb out. This enables you to grasp the ball, 
 and conceal it in the fingers, while holding the basin so 
 that the inside can be inspected. Place the basin on the 
 floor, retaining the ball in the fingers, and immediately take 
 the plate in the right hand, which again conceals the ball. 
 Show the left hand empty, also both sides of the plate. 
 Then pass the plate back into the left hand, taking the ball 
 with it, and show both sides of the right hand. Cover the 
 basin with the plate and in doing so secretly introduce the 
 baU. 
 
 You must now go through the same movements with the 
 other plate, ball, and basin, and the trick is practically 
 finished. All that remains for you to do now is to vanish 
 two balls and find them in the basins. 
 
 The indiarubber balls are essential for silence when 
 dropped into the basin. Ordinary wooden balls would 
 " talk " and thus betray their presence. 
 
 Colonr-Chang^ng Billiard Balls.— There is a very old 
 trick similar to what I am about to describe, known as the 
 " Chameleon Balls. " In this form of the trick the ball is 
 caused to change by palming on, or off, as occasion may 
 require, half shells of different colours. I will now explain 
 a method of producing a result analogous to the old trick, 
 but brought about by entirely different means. 
 
 The necessEiry accessories are a red, a black, and a white 
 bilUard ball, all solid. Place the white ball in the profonde. 
 
TRICKS WITH BALLS. 63 
 
 and the black one in the pochette, on the left side. Having 
 arrived at the point in "Annihilation" (p. 50) where all the 
 balls have been disposed of with the exception of the last 
 solid one, you throw this in the air as if to vanish it in 
 that direction. While all eyes follow the ball in its upward 
 flight you lower the left hand and take the white ball from 
 the profonde, palming it. In doing this you would of 
 course stand with the right side to the audience. 
 
 The Change to White. — Make a half turn to the right and 
 take the red ball in the fingers of the left hand, in which 
 you have the white ball palmed. Then show the right 
 hand back and front. Now take the visible red ball in the 
 fingers of the right hand, and, at the same instant, make 
 the "Change-over Palm.'' This brings your right side 
 again to the auditorium and enables you to show the left 
 hand empty. 
 
 To execute the change you place the red ball in the 
 fingers of the left hand, and then stroke it with the palm of 
 the right ; palming the red ball and leaving in place of it 
 the white one. Again make the " Change-over Palm" show- 
 ing the hands empty, with the exception of the white ball. 
 
 The Change to Black. — You take the ball in the right 
 hand, and turning to the left bring it down rather smartly 
 on the table, to prove its solidity. This gives you the 
 opportunity of dropping the red ball into the profonde and 
 taking the black one from the pochette. 
 
 To change the white ball to black you will proceed as in 
 the previous change, disposing of the palmed white ball at 
 the earliest opportunity, or it can be produced with good 
 effect from the bottom of the trousers. Then lay both balls 
 down on the table. 
 
 To appreciate and thoroughly understand the effect of the 
 above, it is necessary to actually practise the various move- 
 ments with the balls in front of a mirror. 
 
54 CONJUBmO FOR AMATEUES. 
 
 The Diminishing Billiard Balls.— The trick under 
 notice has for its effect the apparent diminution of an ordi- 
 nary billiard ball, first to half its original size, secondly 
 
 to one quarter its original size, 
 and finally to a very small ball, 
 with which several amusing passes 
 are made, and which afterwards 
 disappears entirely. 
 
 In this case a trick ball is used 
 of a size equal to half that of the 
 ordinary one, and hollowed out 
 so as to contain a solid baU of a 
 diameter equal to half that of 
 
 Fig. 18. '"^;;sir^ALLs. ^^^^i^- (^^^ ^^g- 1^.) The houow 
 
 ball must be so constructed that 
 the small one pinches slightly into it, but can be instantly 
 released by simply passing the ball of the thumb over it. 
 A duplicate of this small ball should be placed in the 
 right hand waistcoat pocket for use in the latter part of 
 the trick. 
 
 The trick ball is placed in the left pochette, whence it is 
 obtained and used according to the instructions given in the 
 " Colour-changing Balls. " To produce the smallest size, 
 hold the trick ball in the left hand, having previously 
 loosened the small one, and in the act of stroking it with 
 the right hand, palm off the hollow ball, and dispose of it as 
 soon as possible. 
 
 With the small ball you now execute the pass as described 
 under Example 4 on p. 48. Then actually place the ball in 
 the mouth, pretend to swallow it, and produce the one 
 from the vest pocket, which will appear to be the same. 
 
 You now seem to place the ball in the left hand, really 
 palming it ; then bring the left hand down with apparent 
 force on the top of the head, showing the ball between the 
 
TBIOKS WITH BALLS. 55 
 
 teeth. Here raise the right hand as if to take the ball 
 from the mouth, but really push it back and show the 
 palmed one. Then repeat the same pass, but this time 
 actually let the baJl fall from the mouth into the left hand, 
 the right disposing of the palmed ball into the profonde. 
 
 I have seen a series of passes, including the above, per- 
 formed with two eggs in place of the small balls, but unless 
 the performer be endowed with a colossal cavity between 
 the upper and lower jaws, I should not advise him to 
 attempt this. 
 
 The Handkerchief Ball. — This forms a very good in- 
 troduction to a billiard ball trick, all that is required being 
 a ball of the usual size, hollowed out so as to take a hand- 
 kerchief, with an opening lin. in diameter on the surface. 
 This ball is suspended behind the top rail of a chair by 
 means of a pin. 
 
 After performing any trick in which a handkerchief has 
 been employed, carelessly throw it over the back of the 
 chair while you roll up your sleeves. If you do not care 
 to roll up the sleeves, perform any small trick before pro- 
 ceeding with the present one, otherwise it might be too 
 palpable that the handkerchief was thrown over the chair 
 for a purpose. Then take up the handkerchief (secretly 
 securing the ball) and gradually work it into the ball, being 
 careful to keep the ball out of sight as much as possible 
 until the handkerchief has totally disappeared. Finally 
 throw the ball into the air, which can safely be done pro- 
 viding it and the handkerchief are both of the same colour, 
 which would not admit of the hole being observed. 
 
 At this point, should you desire to proceed with a billiard 
 ball trick, you can do so by changing the hollow ball for a 
 solid one in the same manner that you changed the solid 
 ball for the trick one in the " Multiplying Bilhard Balls. " 
 
56 coNJURma for AMATEtma 
 
 The Dissolving Billiard Ball. — This forms an excellent 
 conclusion to a billiard ball trick. A glass tumbler three 
 parts filled with water is given to a gentleman to hold. A 
 ball is then covered with a handkerchief and given to the 
 gentleman with a request that he will hold it over the glass 
 and at the word " three" will allow it to fall into the water. 
 This is done, and upon the handkerchief being removed 
 from the tumbler, nothing remains but the fluid, which 
 is perfectly transparent, the ball having apparently been 
 dissolved therein. 
 
 The secret of this lies in the fact that the performer is 
 provided with a half shell of clear glass. This shell is secretly 
 slipped over the ball in the act of covering it with the hand- 
 kerchief, and when handing it to the gentleman the solid 
 ball is palmed away by the performer. The gentleman is 
 not at all Ukely to discover that he holds only a half ball, as, 
 being hampered with the glass of water, he is effectually 
 prevented from making an examination. 
 
 It is well to be provided with a tumbler the bottom of 
 which is shaped somewhat to fit the form of the shell, and 
 ornamented sUghtly, but this latter feature is not absolutely 
 necessary. 
 
 Fancy Sleight with a Small Ball. — A small ball is 
 generally used for this " pass, " but it is appHcable to any 
 object that can be conveniently placed in the mouth. In 
 effect it is as follows : A ball, for instance, is rubbed into 
 the left elbow and passed thence up into the hand. The 
 hand is then brought down rather smartly on the back of 
 the head, the ball being immediately afterwards taken from 
 the mouth. 
 
 The sleight is thus executed : The performer takes the 
 ball in his right hand and commences to rub it into his left 
 elbow. At this point he apparently meets with an accident, 
 
TBtOKS WITH BALLS. 57 
 
 dropping the ball on the floor. The dropping of the ball, 
 however, apart from being an accident, is absolutely 
 essential to the success of the illusion. After having picked 
 up the ball and while still in a stooping position with his 
 back towards the spectators, the performer quickly throws 
 it into his mouth, immediately facing round and drawing 
 attention to the right hand the fingers of which must seem 
 to close round the object. The rubbing at the elbow is 
 again commenced and the right hand eventually shown 
 empty. The performer then makes a sign indicative that 
 the ball has passed up into the left hand, which is then 
 brought down with apparent force on the back of the head. 
 The ball in the mouth is then revealed, when it will appear 
 to have actually travelled to that position. 
 
 This sleight can very well be introduced at the close of 
 the " Diminishing BilHard Balls." 
 
 I am indebted to Mr. Boss Conyears, an exceedingly 
 dexterous magician, for the above. 
 
 Bonge et Noir. — This pretty trick consists of causing 
 two balls, one red and one black, wrapped in pieces of paper 
 and placed in borrowed hats, to change places at command. 
 The diameter of the balls should be 4:Jin. 
 
 The solution of the problem Ues in the construction of the 
 papers with which the balls are covered. They are arranged 
 thus : Take two pieces of newspaper and paste them to- 
 gether all round the edges, having previously inserted be- 
 tween them a layer of red glazed paper of the same shade as 
 the ball. The other one is prepared in exactly the same 
 way, but contains a layer of black glazed paper to represent 
 the black ball. 
 
 The two balls are now wrapped in the papers, care being 
 taken to cover the red ball with the paper containing the 
 black layer, and vice versa. After this has been done the 
 
58 coNjuRma for amateues. 
 
 performer feigns a slip, mixing up the packages, and thereby 
 confusing the audience as to the relative positions of the 
 balls. As if to satisfy them on this point he tears a small 
 hole in the outer covering of one of the parcels, exposing say 
 the layer of black paper. The parcel is then placed in the 
 hat on the supposition that it contains the black ball. 
 
 The other package is now treated in the same manner, 
 after which the supposed transposition of the balls will be 
 easily understood. 
 
 Ball, HandkercMef, and Tumbler. — This is a very good 
 combination trick, and as such will serve as an example for 
 the arrangement of others. A billiard ball is placed in a 
 small tumbler, which is in turn wrapped in a piece of news- 
 paper and deposited in a borrowed hat. The performer 
 then takes a small silk handkerchief and rolls it up in his 
 hands, when it is seen to have become transformed into a 
 billiard ball. The glass is then taken from the hat, and, on 
 the paper being removed, is found to contain the handker- 
 chief. The ball, handkerchief, and tumbler, together with 
 the piece of paper, are then caused to vanish, one at a time, 
 from the hands of the performer, who immediately after- 
 wards produces them from the hat. 
 
 The modus operandi is as follows : — A duplicate tumbler 
 containing a handkerchief, and wrapped in paper, must be 
 secretly introduced into the hat prior to the commencement 
 of the trick (see ** Hat Tricks "). The tumbler containing 
 the ball and wrapped in paper is then placed in the 
 hat. The performer now takes up a duplicate kandkerchief, 
 and under cover of the same the hollow ball already 
 described. The handkerchief is worked into the ball, which 
 is shown in due course, and laid on the table, opening down- 
 wards. The duphcate tumbler is then removed from the 
 hat, and found to contain the handkerchief. These articles, 
 
TEICKS WITH BALLS. 69 
 
 including the piece of paper, are then laid on the table by 
 the side of the ball. 
 
 The performer now goes to the hat, and, under pretence 
 of moving it further away, turns it over, thus proving, in 
 conjurer's logic, that it is empty. This can easily be done 
 by taking the hat fingers inside and thumb out, the fingers 
 being inserted in the top of the tumbler. The performer 
 then returns to the table and proceeds to dispose of the 
 articles thereon. 
 
 The piece of paper rolled up, and the ball, are caused to 
 vanish by any of the means already explained. To cause 
 the disappearance of the glass you must be provided with a 
 handkerchief, silk for preference, consisting of two handker- 
 chiefs sewn together round the edges, in the centre of which 
 is fixed a disc of cardboard of the same size as the top of 
 the tumbler. The tumbler being covered with this hand- 
 kerchief, the performer, as if to satisfy the spectators that it 
 is still there, strikes it several times on the back of a chair, 
 and under cover of the movement allows the glass to fall 
 into the network servante. The handkerchief, however, 
 owing to the presence of the disc, still appears to contain 
 the glass, the ultimate disposal of which will now be readily 
 understood. 
 
 In conclusion, the performer takes the handkerchief lying 
 on the table and vanishes it by palming in the ordinary way ; 
 the right hand being immediately dived into the hat and the 
 handkerchief produced. The other articles should be re- 
 moved one at a time, not forgetting to crumple the paper 
 into a ball before taking it out. 
 
CHAPTER VI. 
 
 HAT TBICKS. 
 
 The uses to which that piece of headgear, the much abused 
 silk hat, lends itself in "I'art magique " are almost innumer- 
 able. The chief, however, and the one immediately under 
 consideration, is the production therefrom of a host of 
 heterogeneous articles, of which the following list will give 
 an idea : — 
 
 50 yards of sash ribhon, 8m. wide. — The ribbon should be 
 folded over and over, in large pleats, so that it can be 
 readily taken from the hat. 
 
 Two dozen fancy cardboard boxes, B^n. by 2\in, by 2Jm. 
 — These are made to fold flat, the size of the parcel when 
 ready for introduction being Sin. by 3|in. by IJin. 
 
 200 yZoz^ers, known as spring flowers, — Each flower when 
 closed is very little thicker than brown paper, but inmie- 
 diately on being released expands to the size of a full-blown 
 tulip. One hundred of these flowers, when closed, can 
 easily be hidden in the hand. 
 
 A string of sausages, — These, it is hardly necessary to 
 remark, are imitation, being made in silk of the required 
 colour. 
 
 A bundle of wood, — This is made hollow, consisting of a 
 cardboard case with pieces of wood glued on the outside 
 and on one end, the other being left open. It is usually 
 filled with baby linen, together with a feeding-bottle con- 
 taining milk. 
 
HAT TBICKS. 
 
 61 
 
 100 yards of narrow, coloured ribbon, — This is made in 
 coils, machine rolled, similar to that used for telegraph 
 purposes. A coil of this ribbon can very well be placed in 
 the bottom of the sham bundle of wood. When producing 
 the coil it should be unrolled from the centre. 
 
 4:1b. weight of playing cards. — These make a tremendous 
 show when strewn about the stage. A good plan, also, is 
 to have a number joined together in a long string by means 
 of cotton. 
 
 A cannon ball. — This is usually made in zinc, Sin. in 
 diameter, hollow, and provided with a shding lid. It can 
 be filled with various soft goods, such as handkerchiefs, 
 ribbons, etc., also sweets and bonbons for distribution. 
 
 A solid wooden cannon ball. — This should have a Jin, 
 hole, 2in. deep, bored in it towards the centre, for facility 
 in introducing it into the hat. 
 
 A barber's pole about 30ft. long and dm. to 5in. thick at 
 the base. — This is made with stout coloured paper, and pulls 
 out from the centre. If the pole be constructed of red, 
 white, and blue paper the performer, when introducing the 
 trick, may announce that he is about to erect the British 
 
 Colours at the North Pole. 
 
 A bowl of gold fish. — This 
 really consists of two bowls, one 
 within the other. The space 
 between the two contains the 
 water and fish, which are inserted 
 through a hole in the bottom of 
 the outer bowl, the latter being 
 afterwards corked. The inside 
 bowl is filled with bonbons, etc. 
 (See Fig. 19.) The fish used 
 are imitation, being made from 
 pieces of carrot cut to shape. 
 
 Fig. 19.— Bowl op Gold Fish. 
 
62 CONJUEING FOR AMATETJRS. 
 
 A large cage containing a live canary. — The cage, which 
 is telescopic in action, the upper part sUding down into 
 the lower, is nearly twice the height of the hat, and when 
 once taken out cannot be put back. This is owing to the 
 fact that the seed boxes, which in their normal position 
 are on the inside, revolve on spring pivots as the cage is 
 withdrawn, thus making it impossible to return it to the 
 hat until they are replaced. 
 
 Twenty pint tumblers, ruby and green. — These are made 
 in celluloid and fit one in the other. They are aU of the 
 same size, but being very thin occupy very little more space 
 than a single one. 
 
 Six champagne bottles. — These are not quite so sub- 
 stantial as they look, being merely half- bottles in thin 
 metal, japanned black, and decorated with labels taken 
 from the genuine article. A bottle with a horizontal divi- 
 sion in the centre, the upper part containing wine, and the 
 lower part a tumbler, is generally introduced with the shells. 
 
 A small rabbit. 
 
 A Chinese doll. — Obtain a doll's head, 5in. in diameter, 
 from any Oriental store, and drape it with a silk skirt. If 
 a hole be cut in the top of the head it can be utilised in the 
 same manner as the cannon ball. 
 
 A skull which rises spontaneously from the hat. — This is 
 a model in papier-mach6, and being hollow, is very service- 
 able. It is caused to rise from the hat by means of a black 
 thread, which is carried through a staple in the flies imme- 
 diately over the performer's table, thence through another 
 staple behind the wings, and dovm to the assistant. 
 
 It is not my intention to give directions for making these 
 goods, as they can be bought at a very small cost from 
 any of the dealers in magical apparatus. I have found by 
 experience that this is the best course to pursue. Amateur 
 work is, as a rule, very commendable, but scarcely so as 
 
HAT TEIOKS. 63 
 
 regards conjuring, clumsy and ill-made apparatus being ab- 
 solutely useless, and consequently dear at any price. Apart 
 from this I have another, and what I believe to be a more 
 important object in view, viz., that of giving instruction in 
 the actual working of the trick. 
 
 It will be at once obvious to the reader that the chief 
 element in the magical production of articles from a 
 borrowed hat, is the manner in which they are secretly 
 introduced, as, should this be detected, the trick would 
 fail ignominiously. The main secret lies in the combina- 
 tion of the looks and gestures of the performer to misdirect 
 the audience. The articles for the most part are introduced 
 imder cover of natural movements, quickness being of little 
 or no avail. 
 
 I will now describe one or two methods employed to 
 effect this desideratum. 
 
 loading.— Under this heading I shall endeavour to give 
 the working of a hat trick as actually presented to an 
 audience, using for the purpose articles selected from the 
 preceding list. The following preparations must be made : — 
 A small rabbit is placed in the right hand 
 profonde, and a billiard ball and a small 
 dinner plate are laid on the table. 
 
 A packet of one hundred spring flowers, 
 secured by a band of tissue paper, must be 
 in the hands of the assistant at the right 
 wing; and another similar packet must be 
 placed in the profonde on the left side. 
 
 The sash ribbon, folded as instructed, is 
 
 tied round the fancy boxes together with the 
 
 string of sausages, with black tape. The 
 
 Fig. 20. DouBLK parcel is suspended behind the back of a 
 
 Wire Loop, chair by means of a pin and a double loop of 
 
 florist's wire (see Tig. 20), the tape being passed through 
 
64 CONJUBINQ FOR AMATEUEa 
 
 the small loop, which is then hung on the pin. This leaves 
 the large loop, the use of which will be noted in due course, 
 sticking up over the back of the chair, where, however, it is 
 quite invisible at a few paces. 
 
 The twenty pint tumblers are wrapped up in a piece of 
 coloured sash- ribbon and tied round with tape to which is 
 attached a loop of wire. Thus prepared they are placed in 
 the capacious breast pocket on the left side, the loop pro- 
 jecting so that the thumb of the right hand can be passed 
 through it and the package withdrawn. 
 
 The bundle of wood, containing the coil of ribbon, baby 
 linen, and feeding bottle, must be in readiness on the servante 
 at the back of a second chair. 
 
 The skull, cannon ball, or globe of gold fish, whichever 
 the performer intends to use, is located on the servante at 
 the back of the table. 
 
 The next thing to do is to obtain the loan of a hat, and 
 having done so, it is well to perform a preliminary experi- 
 ment with the same. A very good one is that known as 
 
 The Magnetized Hat. — The performer places his hand, 
 perfectly empty, on the crown of the hat, which forthwith 
 adheres to the palm, and in this position it can be moved 
 about and turned over in any direction. The finger tips are 
 then used in place of the palm with the same result. 
 Finally, a silk handkerchief is thrown over the hat, and the 
 palm of the hand placed thereon, but the effect is still the 
 same. 
 
 This seeming impossibihty is accomplished with the aid 
 of the little piece of apparatus illustrated in Fig. 21. It 
 consists of a brass plate fitted with two bent pins as shown, 
 the whole being painted black. The pins should be 
 situated so that by placing the two middle fingers between 
 them the hat can be raised. The working of the trick will 
 
 J 
 
HAT TEIOKS. 65 
 
 now be readily understood. The clip must be pressed into 
 the crovm of the hat while returning with it to the stage, 
 the pin on the left of the figure being inserted first. The 
 
 clip is removed, with 
 the handkerchief, in 
 the final stage of the 
 trick. 
 
 The ball and plate 
 are now given for 
 examination, and 
 
 while all attention is 
 
 Pig. 21. Apparatus for Magnetized Hat. ^^vete on ese 
 
 two articles, ample 
 opportunity will be found to introduce the rabbit un- 
 observed, which should be done while amongst the 
 audience. The hat is then covered with the plate, in 
 which condition it is carried back to the stage, and placed 
 on the table. 
 
 The performer now takes the ball, and vanishes it by 
 palming ; appearing to pass it through the plate into the 
 hat. The plate is then removed, and the ball taken from 
 the hat with the right hand, followed inunediately by the 
 rabbit. 
 
 The hat is now taken in the left hand, and the rabbit 
 handed to the assistant at the wings with the right. The 
 assistant takes the rabbit, and at the same time, under 
 cover of the wing, gives the performer the packet of flowers ; 
 the hat being immediately placed in the right hand to con- 
 ceal their presence. 
 
 While drawing attention to the outside of the hat, the 
 tissue paper is broken with the fingers, and the flowers are 
 released. They are then shaken out slowly on to a large 
 sheet of black alpaca, which should be spread over the 
 stage to receive them. While this is being done, the 
 
66 coNjuEma fou amateurs. 
 
 package is obtained from the profonde, the hat being 
 changed over into the left hand, and the second load thus 
 introduced. 
 
 When the flowers have all been shaken from the hat, 
 take it in the right hand, fingers inside and thumb out, and 
 approach the chair (this should be on your right) on which 
 is the bundle of ribbons, etc. Take the top of the chair in 
 the hand holding the hat, and in doing so, push the fore- 
 finger through the loop of wire. Now move the chair away 
 a few paces, and when removing the hand from the back 
 bring away the load, which will fall into the hat unobserved. 
 Leave the hat on the chair, and take up the alpaca con- 
 taining the flowers, putting it on one side. 
 
 Up to this point, no one will suspect that the hat contains 
 anything, as what you have done has been but natural in 
 the preparation of the stage for the next trick. 
 
 The boxes are now taken from the hat and placed on the 
 table, followed by the sausages. When removing the latter, 
 some amusement may be caused by referring to them as 
 "an indefinable, condimental amalgamation of membra- 
 naceous disintegrations." 
 
 The ribbon is next pulled from the hat in long lengths 
 with the right hand, and when the hand contains a large 
 quantity, the thumb is slipped through the wire loop at- 
 tached to the tumblers in the breast pocket. These are 
 introduced when inserting the hand to take out the 
 next length of ribbon. The introduction of the tumblers 
 cannot be detected, owing to the presence of the ribbon in 
 which they are wrapped. When the whole of the ribbon 
 has been extracted, it is thrown over the back of the chair, 
 behind which is the bundle of wood. 
 
 The tumblers are now taken from the hat, and placed on 
 the table. 
 
 The performer then takes up the ribbon from the chair, 
 
HAT TRICKS. 67 
 
 and makes an effort to return it to the hat, thereby drawing 
 attention to its great bulk, and remarking, "Now, how do 
 you suppose I am going to get home with this ? Why, I 
 shall require at least two cabs." 
 
 It is needless to say that under cover of the ribbon the 
 bundle of wood is introduced into the hat. The baby Unen, 
 feeding bottle, and coil, are now produced, and finally the 
 wood itself. It is usual when taking the ribbon from the 
 hat to spin it out on the wand. 
 
 Holding the hat by the brim, fingers inside and thumb 
 out, the performer lowers it for an instant to the rear edge 
 of the table, and by inserting the middle finger of the hand 
 into the hole in the cannon ball scoops it up into the hat, 
 which is forthwith raised and placed crown downwards on 
 the table. 
 
 This movement should be executed with the left hand 
 while the right lays the bundle of wood down on the table, 
 and, if necessary, makes room for the next production. 
 
 The fish bowl, or skull, would of course be worked in a 
 similar manner, 
 
 From the foregoing it will be seen that with a little 
 expenditure of ingenuity and trouble a hat trick can be 
 carried on to an almost indefinite period. It should not^ 
 however, in any case exceed fifteen minutes. I have taken 
 the preceding list simply as an illustration of the way in 
 which the various movements are combined to appear 
 natural and thus avoid detection, also as a basis on which 
 the student may arrange a hat trick of his own. Any 
 articles can, of com'se, be substituted for those given, or 
 the Hst may be supplemented by others, or cut down as 
 occasion may require. An amount of sang froid and bold- 
 ness, only acquired from years of actual practice, is necessary 
 to execute a good hat trick faultlessly ; but this should not 
 
 F 2 
 
68 CONJURING FOR AMATEURS. 
 
 disconcert the reader, as it is only in accordance with what 
 must be expected in the acquisition of an art. 
 
 To Produce a unmber of Eggfs from a Hat held Crown 
 
 upwards.— For this purpose you must be provided with a 
 black linen bag, oval in shape, and large enough to contain 
 the required number of eggs. To one end of this bag is 
 sewn an ordinary tie clip, the other end being cut off and 
 provided with a piece of elastic so that eggs placed therein 
 cannot come out unless pressure be appHed with the hand. 
 The bag is loaded into the hat by one or other of the 
 methods described, and attached to the lining of the same 
 by means of the cUp. Under these circumstances the 
 production of the eggs from the inverted hat will be an easy 
 matter. The eggs used should be blown ones. 
 
 The bag should be allowed to remain in the hat after the 
 last egg has been taken from it, and removed later under 
 cover of some other article. 
 
 The Hat Incubator. — This experiment will be a 
 welcome addition to any programme, as it introduces an 
 entirely new method of loading a silk hat. In effect it is as 
 follows : — Having obtained the loan of a hat, the performer 
 proceeds to collect a number of eggs by sleight of hand, 
 using the hat as an egg basket. The hat, containing say 
 half a dozen eggs, is then warmed over the flame of a 
 candle, and immediately afterwards six Hve chickens are 
 taken from it, the eggs having totally disappeared. 
 
 Here is the solution of the mystery. As the pwformer 
 steps back to the stage with the hat he is met by his 
 assistant, who comes on from the wings carrying a Japanese 
 tray on which is a hghted candle. He brings with him the 
 chickens, which are enclosed in a black alpaca bag hang- 
 ing on his back between the shoulders. The mouth of the 
 bag is gathered up and retained with an ordinary tie clip to 
 
HAT TEIOKS. 69 
 
 which is soldered a bent pin in the form of a hook for 
 
 attaching the whole to the cloth. 
 
 The performer, holding the hat in the left hand, opening 
 towards the audience, approaches his assistant, and when 
 in the act of apparently instructing him to hold the tray at 
 the proper height, lowers the hat for an instant behind his 
 back and scoops the bag containing the chickens into it. 
 This movement is so subtle that not one in a thousand will 
 detect it. 
 
 The performer now obtains an egg from the pochette on 
 the right side, and, lowering his hand over the candle, 
 appears to produce it from the flame. He now seems to 
 place this egg in the hat, really palming it and producing it 
 over again. This is continued until the hat is supposed to 
 contain the required number, the last one being dropped 
 unmistakably into it. 
 
 The cHp is then removed from the mouth of the bag, and 
 attached to another portion of it to prevent the possibihty 
 of dropping it on the floor ; and the chickens are taken out 
 one by one and placed on the tray. This gives a very 
 plausible pretext for the use of the assistant, and no one will 
 suspect that he plays any but a very secondary part in the 
 working of the trick. 
 
 The chickens never ''talk" after they have once been 
 placed in the bag : on the contrary, they appear perfectly 
 happy huddled together in the darkness, and evidently 
 enjoy the warmth generated by their own bodies. 
 
 A good finish to the trick may be obtained by placing a 
 folding bouquet, consisting of a number of the spring 
 flowers tied together, in the bag with the chickens. Under 
 cover of the bouquet, which should be produced last, the 
 bag and one egg are secretly removed from the hat, which 
 is then returned to the owner. 
 
CHAPTER VII. 
 
 ANTI-SFIBITUALISTIC TBICES. 
 
 Tlie Climbing Ring. — The performer having obtamed 
 the loan of a lady's ring, passes it over the end of his wand, 
 which he then holds in a perpendicular position* The ring 
 now commences to chmb up the wand very slowly, stopping 
 or descending at command ; finally it jumps right off the 
 wand and is caught by the performer, who immediately 
 hands it back to the lady. 
 
 This pretty experiment depends entirely upon a black silk 
 thread, about twice the length of the wand, to which it is 
 fixed at the uppermost end. The means by which the thread 
 is attached may vary, but a good plan is to make a very 
 small knot in the end of the thread, which is then passed 
 through a very fine sKt cut in the end of the wand, the knot 
 making all secure. The thread is then passed down the 
 side of the wand, in which position it will not be noticed. 
 The ring is now dropped over the wand, and consequently 
 over the thread, by the manipulation of which it may be 
 caused to rise or fall, or, in response to a sharp tug, to jump 
 right off the wand. The wand is usually held in the left 
 hand, while the right, in which is the end of the thread, 
 holds the lappel of the coat, when all that is necessary to 
 obtain the desired result is to move the left hand to or 
 from the body as required. 
 
 The Mysterious If ame. — This is a capital trick, and one 
 that can be introduced at any time. The performer borrows 
 
ANTI-SPIBITUALISTIO TRICKS. 71 
 
 a visiting card from any stranger in the company, and, 
 holding it between the thumb and the second finger of the 
 hand, he waves it about very slowly, at the same time 
 asking someone to call out the name of any celebrity. This 
 having been done the card is almost immediately handed back 
 to the owner, who finds the selected name written thereon. 
 
 This ingenious trick is accomplished with the aid of a 
 small accessory in the shape of a thimble, to the end of 
 which is attached a small piece of pencil about a quarter of 
 an inch in length. This thimble having been placed on the 
 forefinger of the hand, it wiU be found, by experiment, that 
 the name may very easily be written on the back of a card 
 held as instructed. 
 
 Prior to, and immediately after the trick, the thimble 
 may be palmed as instructed elsewhere. 
 
 The Spirit Calculator. — A piece of paper and a pencil 
 are handed to the audience with a request that four different 
 persons will each write down a row of four figures, one under 
 the other, to form an addition sum. The paper is then 
 given to a fifth person to add up the figures, but before he 
 can call out the result the performer writes it down on a 
 blackboard. 
 
 The secret lies in the fact that the performer is in posses- 
 sion of a piece of paper exactly the same in every detail as 
 that handed to the audience, on which, previous to the 
 entertainment, he has had written in different hand- 
 writings four rows of figures. In the course of the enter- 
 tainment all is fair and above-board until it comes to adding 
 up the sum, when the performer, in the act of giving the 
 paper to the fifth person, changes it for that of his own, 
 with the total of which he is already aaquainted. He has 
 now only to run to the stage and write down the answer on 
 the blackboard. 
 
72 OONJURINa FOR AMATEURS. 
 
 A more startling conclusion than the prosaic one above- 
 mentioned may be obtained by the use of sympathetic ink, 
 composed of sulphuric acid and water, one part of the 
 former to three of the latter. Writing done with this ink 
 will be invisible until heat be applied, which will bring out 
 the characters in jet black. 
 
 The performer, then, being provided with a piece of paper 
 bearing the answer written with the invisible ink, gives a 
 plate to the person adding up the sum and asks him to set 
 light to the paper, first, however, taking careful note of the 
 total. The prepared piece of paper is now held over the 
 flames on the plate, when the heat will bring out the answer, 
 which is proved to be correct. 
 
 The total may be produced with very good effect in any 
 of the Slate Tricks hereafter described. 
 
 A New Postal Trick. — This is very useful, as it can be 
 employed in conjunction with any trick where a word, 
 message, total of sum, etc., is to be produced in a magical 
 manner. An ordinary postcard is handed to a spectator 
 with a request that he v^ill tear a small piece from one 
 corner, and having done so, hand both portions back to the 
 performer. The corner is laid on the table and the card 
 torn up into small pieces which are then placed in the magic 
 pistol (see p. 32), and fired at a borrowed hat. The card 
 is afterwards produced from the hat covered vsdth writing, 
 and fully restored with the exception of the corner, which 
 on being fitted to the card is found to correspond in every 
 way. 
 
 The trick is accomplished with the aid of a second card 
 prepared with the necessary writing, and from which a 
 corner has been removed. This card is secretly introduced 
 into the hat when returning with it to the stage. The per- 
 former, having palmed the portion missing from the card in 
 
ANTI-SPIRITUALISTIO TRICKS. 73 
 
 the hat, makes an exchange when laying the corner on the 
 table. The plain card is then torn into fragments, and to- 
 gether with its corner is placed in the pistol, which is then 
 fired at the hat. It is well to place a piece of paper in the 
 mouth of the cone to receive the torn pieces of card, as by 
 this means the danger of dropping any on the floor is 
 obviated. 
 
 An additional effect may be obtained by having previously 
 placed in the body of the pistol a piece of paper containing 
 a powder for producing coloured fire, when, after having 
 disposed of the cup containing the torn card, you appear to 
 overhear a remark to the effect that you have put some- 
 thing in your pocket, to which you reply, "No, I certainly 
 did not put anything in my pocket. See, here is the paper 
 containing the card ' ' (really the package of coloured fire). 
 The package of powder is then laid on a plate and fired, 
 after which the .card is removed from the hat. 
 
 The above trick may very well be used in conjunction 
 with ''The Spirit Calculator." 
 
 New Slate Tricks.— Under this heading will be noticed 
 several methods, all of recent invention, for performing the 
 well-known slate trick. 
 
 First Method. — Two ordinary school slates are given 
 into the hands of a spectator, who, after making a careful 
 examination, ties them together with stout cord, in which 
 condition they are placed in the cabinet. Writing is 
 immediately heard, and when it ceases the slates are at 
 once handed out to the performer, who on separating them 
 finds the required message. 
 
 The secret lies in the fact that the medium is provided 
 with two small wooden wedges ; also an umbrella rib, to 
 which at one end is fitted a minute piece of pencil. All he 
 has to do, therefore, is to force the wedges between the 
 
74 ooNJUEma fob amateubs. 
 
 slates on one side until sufficient space is provided for the 
 insertion of the rib, when the writing of the message will 
 be found an easy matter. 
 
 Second Method. — ^In this case the two slates, after ex- 
 amination, may be actually screwed together with iron 
 bolts, but in spite of this precaution writing is obtained as 
 before. 
 
 Under these circumstances the performer is provided with 
 a piece of prepared chalk — ^not the conventional commodity 
 as sold by every chemist, but prepared by coating a piece 
 of steel, about the size of a pea, with chalk paste, which is 
 then allowed to dry. The piece of chalk is placed between 
 the two slates, which are then bolted together and put into 
 the cabinet ; when, under the influence of a powerful horse- 
 shoe magnet passed over the outside of one slate as required, 
 the prepared chalk will produce the spirit writing. 
 
 Third Method {one slate only). — After examination the 
 slate is held by the performer above his head, when almost 
 immediately writing is heard ; and on the slate being turned 
 round it is found to contain the desired message. 
 
 The slate, a small one for preference, is provided with a 
 loose vulcanite flap covering one side, and concealing the 
 writing which is already there. The performer hands the 
 slate round for examination (keeping the flap in position by 
 means of the fingers), and asks a spectator to initial it in 
 one corner to satisfy himself that it is not exchanged. 
 This having been done, and while returning to the stage, 
 the performer removes the flap under cover of his body and 
 places it in the vest, or in the large pocket in the breast of 
 the coat. He then holds the slate above his head, fingers 
 in front and thumbs behind. The sound of writing is pro- 
 duced by scratching vnth one thumb on the back of the 
 slate, and when this has been continued long enough the 
 message is revealed. 
 
ANTI-SPIBITUALISTIO TRICKS. 76 
 
 Fcnirth Method (one slate only). — In this instance the 
 slate, which is an ordinary one, is shown to be clean on 
 both sides, in which condition it is given to a spectator to 
 hold. The performer then takes a pistol and, at a few 
 paces, fires direct at the slate, on which, immediately after 
 the report, the message is discovered. 
 
 To produce this startling effect all that is necessary is to 
 write the message on the slate with glycerine just before 
 commencing the trick, and to load the pistol with a small 
 charge of powder, on the top of which is placed a quantity 
 of powdered chalk. 
 
 Any of the above methods may be used in connection with 
 such tricks as " The Spirit Calculator," " The Great 
 Dictionary Trick," and any others of a Uke nature. 
 
 The Spirit Handkerchief. — The effect of this trick, 
 which is exceptionally good, is as follows : — Several knots 
 having been tied in a large silk handkerchief borrowed from 
 a member of the audience, it is thrown on the floor of the 
 stage when it immediately begins to act as if it were a live 
 snake, twisting and twirling about in every conceivable 
 form. The performer passes his wand over, under, and all 
 round the handkerchief, thus proving to the satisfaction of 
 the most astute that there are no connections. 
 
 It is hardly necessary to say, however, that in spite of 
 such convincing proof to the contrary, connection is actually 
 made with the handkerchief, and it is done in the following 
 manner : — ^A fine black silk thread is stretched across the 
 stage from one wing to the other, the ends being in the 
 hands of two assistants. Having obtained the loan of the 
 handkerchief, the performer, standing behind the thread, 
 takes it diagonally by two corners and twists it up rope 
 fashion. He then ties three knots in it, one a Httle below 
 the centre, one a little above the centre, and the third at 
 
76 CONJURING FOR AMATEURS. 
 
 one end. While this is being done the assistants raise the 
 thread round which the last knot, forming the head of the 
 snake, is actually tied ; but owing to the thread being in- 
 visible this will pass unobserved. 
 
 Having made the last knot the performer drops the 
 handkerchief on the floor, when its emulation of a Hve snake 
 will depend entirely on the adroit manner in which the 
 assistants manipulate the thread. Finally, it should be 
 made to jump into the hand of the performer, who should at 
 once hand it, with the knots still tied, to the owner. This 
 is managed by the assistant at one end dropping the thread 
 and the other one pulling it clear of the handkerchief. 
 
 The Mysterious Communication. — This trick, which is 
 a very good one, is performed by a method very little known. 
 The effect is as follows : — ^Any person writes on a piece of 
 paper any word or series of words to form a short sentence, 
 and having done so, folds the paper and puts it in his pocket. 
 At this stage the performer introduces a reel of telephonic 
 wire, the end of which, containing a loop, is handed to the 
 writer, with a request that he will place the loop over the 
 ball of the left thumb. This having been done, the performer 
 places the reel against his forehead, and, after a few seconds' 
 thought, writes the message, or an answer thereto, on the 
 blackboard. 
 
 To obtain this result, all that is necessary is to be provided 
 with a piece of paper smeared over on one side with white 
 wax, or common washing soap ; also a slab of plate glass by 
 way of writing board. The paper is placed on the glass, 
 waxed side downwards, in which condition the assistan 
 takes it to a gentleman in the audience. "When writing on 
 the paper a very faint impression, invisible to anyone who 
 does not actually look for it, is obtained on the glass. In the 
 act of taking the glass back from his assistant the performer 
 
ANTI-SPIEITUALISTIO TEICKS. 77 
 
 obtains the desired cue. The use of the wire is optional, 
 but, of course, it adds much to the effect of the trick. 
 
 The Great Dictionary Trick (new method).— This is an 
 
 improvement on the old trick under this name, as any dic- 
 tionary may be used, whereas formerly the trick depended 
 entirely upon a dictionary composed of one page repeated 
 throughout. The effect is as follows : — 
 
 The performer hands a sealed envelope to a spectator, 
 asking him to take care of it, and not break the seal until 
 requested. A dictionary is then given for examination, after 
 which a lady inserts in it, at any page, a playing card. A 
 counter bearing a number, say 27, is taken from a bag con- 
 taining fifty, all numbered differently ; the dictionary is 
 opened at the page containing the card, and due note is 
 taken of the twenty-seventh word indicated by the counter, 
 and which is, we will suppose, "Magic." The gentleman 
 is next requested to open the envelope, and on doing so 
 finds to his astonishment that it contains a card on which 
 is written "Magic, n, sorcery; enchantment," in exact 
 accordance with the word chosen, apparently by chance, 
 from the dictionary. 
 
 The seeming mystery is easily explained. Obtain a new 
 shilling pocket dictionary, and, having opened it somewhere 
 about the middle, bend the covers right back until they 
 touch each other. Any new book used thus will ever after- 
 wards, unless otherwise maltreated, open readily at the same 
 page. After the dictionary has been examined the per- 
 former allows it to fall open at this page, into which he 
 secretly introduces a playing card previously palmed in his 
 right hand. The book is then closed. 
 
 The performer, still holding the book, gives a card, 
 identical in every respect with the other one, to a lady, with 
 a request that she will insert it between the leaves in any 
 
78 OONJUBING FOR AMATEUBS. 
 
 position and push it right into the book. The performer, of 
 course, takes care that the two cards do not clash. In this 
 condition the dictionary is laid on the table. 
 
 A small bag, preferably of silk, is next introduced, from 
 which the performer takes a handful of counters numbered 
 from 1 to 50 and gives them for examination, after which 
 they are returned to the bag. Any person is now allowed 
 to place his hand in the bag and remove one counter, but it 
 is needless to say, however careful he may be, the number 
 chosen will be 27, which is accounted for by the fact that 
 the bag is provided with a division through its entire length, 
 forming two pockets, one of which contains the counters 
 numbered 1 to 50, and the other, fifty counters all bearing 
 the same number, i. e. , 27. 
 
 The dictionary is now opened by the performer at his 
 own page, which every one will take to be the one chosen 
 by the lady ; someone is asked to note the twenty-seventh 
 word on that page as indicated by the counter, the trick 
 being brought to a conclusion as already described. 
 
 The performer can always ensure the left-hand page of 
 the opening being read, by holding the book, with the card, 
 in such a position that the twenty-seventh word on the 
 right-hand page cannot be seen. Care must also be taken 
 not to expose the dupUcate card. 
 
 By way of variation the chosen word may be produced 
 with the sympathetic ink (see p. 72), or it may be revealed 
 by the method employed in " A New Postal Trick. " 
 
 For the above trick, in the form described, I am indebted 
 to Mr. Maurice Victor, a most skilful exponent of sleight of 
 hand. 
 
 Long-distance Second Sight.— Two performers, usually 
 a lady and a gentleman, are required for this stance. The 
 gentleman introduces the lady, who is then escorted by a 
 
ANTI-SPIEITUALISTIC TRICKS. 79 
 
 committee, chosen from the audience, to a room in a 
 different part of the house, in which she is secured under 
 lock and key. Several of the committee then guard the 
 room, while the others return to the concert-hall and give 
 the performer the following particulars : — Time shown by 
 any watch (not necessarily the proper time) ; initials of any 
 person in the room ; any number of four figures ; any word 
 of four or five letters ; number of cigarettes in any case, and 
 kind of case ; amount of money in any purse, and kind of 
 purse. After this has been done a member of the committee 
 takes pen, ink, and paper to the lady, who immediately 
 writes dov^n the time, initials, number, etc. ; these, on 
 examination, are found to be correct, although she has never 
 left the room, neither has the performer left the stage, and 
 no connection of any description exists between them. 
 
 This inexpUcable performance is thus accomplished : The 
 performer is provided with a small writing pad, 3 Jin. by 2in., 
 consisting of a piece of card-board, on which are held, by 
 means of two elastic bands, several cigarette papers. This 
 pad, together with a small piece of soft lead pencil, is placed 
 in the right-hand trousers pocket. As the various items are 
 called out, the performer stands with his right hand in the 
 pocket, a perfectly natural attitude, and appears to be 
 thinking deeply; but he is really writing down the par- 
 ticulars, one under the other, on the cigarette paper, which, 
 with a little practice, can be done quite legibly. He then 
 tears off the paper and rolls it into a small ball between the 
 fingers. 
 
 A piece of plain paper is now obtained from any member 
 of the audience, in order to prove that a prepared piece is 
 not used, and together with a Swan Fountain Pen, sup- 
 phed by the performer, is taken, by one of the conunittee, 
 to the lady, While the paper is being obtained the 
 performer has ample time to remove the cap from the 
 
80 coNjURma fob amateurs. 
 
 pen-nib, and, befpre placing it on the opposite end of the 
 pen in the place provided for it, he inserts in it the small 
 ball of paper, which is thus secretly carried to the lady. 
 On receipt of the pen and paper the lady requests to be left 
 alone for a few seconds, as otherwise she will not be able 
 to obtain the aid of " the spirits, " and in the absence of the 
 committee-man she takes a hair-pin, and with it extracts the 
 ball of paper from the pen, reads, and writes out the re- 
 quired information. 
 
 It is necessary that the order in which the various items 
 are called out should be known alike to the performer and 
 medium, as otherwise the " time " might be mistaken for 
 the "number," and other errors might occur. A number 
 of letters to indicate the various kinds of purses and 
 cigarette cases, as "L." for leather, "S."for silver, etc., 
 should also be agreed on between the two parties. 
 
 It will be obvious that the above trick is subject to much 
 variation according to the taste of the performer, and may 
 be elaborated if desired. A throw of dice ; a person's age ; 
 or the name of a selected card (write " 8 D " for eight of 
 diamonds, etc.) may be substituted for any of the items 
 given above. 
 
CHAPTER VIII. 
 
 MISCELLANEOUS TRICES. 
 
 Flash. Paper. — Having had occasion several times during 
 the course of the present work to make use of " flash paper, " 
 I will now describe the manner in which it is prepared. It 
 is not, however, practical to manufacture it at home, as it 
 can be obtained in large quantities at a very small cost, 
 
 A mixture of nitric and sulphuric acids, one part of the 
 former to two of the latter, is made, and allowed to stand for 
 twelve hours before using. The experiment should be made 
 in the open air. Ordinary tissue paper is then immersed in 
 the fluid for a few seconds, after which it is taken out and 
 washed well in clear water, until all trace of acid has been 
 removed. This can be ascertained by the use of blue htmus 
 paper, which when dipped into the water will betray the 
 presence of the acid by turning red. The paper should then 
 be dried in a warm atmosphere, but not near a fire, and it 
 is ready for use. 
 
 Flash handkerchiefs are prepared in a similar manner. 
 For this purpose take a piece of fine cambric, wash it well in 
 hot water to remove all grease and other impurities, and then 
 treat it in the same way as the paper. 
 
 A New Pire Plash. — This forms a very good opening 
 trick. The performer steps on the stage and, in what 
 appears to be a careless manner, picks up a piece of paper 
 from the floor, rolls it up in his hands, and throws it in 
 
 Q 
 
82 CJONJUBING FOR AMATEURS. 
 
 the air, where it disappears in a flame, leaving no trace 
 behind. 
 
 To produce this effect you must obtain some very fine 
 glass tubing about the thickness of a darning needle, and 
 having broken off several pieces about an inch long, fill 
 them with sulphuric acid. This can be done with the 
 aid of a long piece of india-rubber tubing, the acid being 
 drawn into the glass by suction. The ends of the tube are 
 then sealed hermetically in the flame of a spirit lamp. 
 You must next prepare a powder composed of equal parts of 
 chlorate of potass and powdered lump sugar. Wrap a very 
 small quantity of this powder — about as much as will lie on 
 a sixpence — together with one of the acid tubes in a piece 
 of flash paper, and all is ready. 
 
 When rolling up the paper in the hands the tube is 
 broken ; the acid escapes [and fires the powder, which in 
 turn sets light to the paper and produces the desired result. 
 
 Caution. — To prevent accidents never prepare the papers, 
 or even mix the powder, until actually required for use. 
 
 Conjnrer's Ammnnitiou. — The magic pistol described on 
 p. 32 is usually loaded with a small charge of powder. 
 This is excellent for stage purposes, but hardly suitable for 
 the drawing-room, where some objection might be taken to 
 the employment of powder, even in a small quantity. The 
 pistol, however, need not be discarded, as it can still be used 
 in a manner that will in no way detract from the charm of 
 the trick. Load the pistol with a piece of flash paper, place 
 a percussion cap on the nipple, and pull the trigger. The 
 paper will take fire and be thrown from the pistol, vanish- 
 ing in a sheet of flame at the opposite end of the room. 
 
 Again, the pistol need not be loaded at all, but just as 
 you are about to fire you appear to understand that the 
 ladies object, and remark — " Oh ! I see the ladies object to 
 
MISCELLANEOUS TRICKS. 83 
 
 the report — well in that case I will use the pistol as an 
 air-gun." Saying this, you remove the conical tube and 
 blow through it to cause the supposed transmission. 
 
 Smoke from Two Empty Pipes. — Two empty and clean 
 clay pipes are passed round for examination and proved 
 ostensibly to be unprepared. The bowls are then placed 
 one over the other, when the performer, by simply inserting 
 one of the stems in his mouth, commences to blow clouds 
 of smoke from the pipes. 
 
 The solution of the mystery is as follows : — A few drops 
 of hydrochloric acid (spirits of salts) are placed in one of 
 the pipes, while the other is similarly treated with ammonia. 
 The union of the two chemicals produces a thick vapour, 
 which has all the appearance of smoke produced from 
 tobacco. 
 
 A good combination trick may be formed by preparing 
 a glass tumbler and the bottom of a tea plate, as above 
 described ; the plate is then placed over the tumbler, the 
 whole being covered with a handkerchief. The smoke so 
 mysteriously produced from the pipes may now be caused, 
 apparently by some occult means, to find its way into the 
 closed tumbler. 
 
 A New Fire-eating Trick. — This, although a very 
 startling trick, is quite harmless, and can be performed 
 by anyone. Small balls of fire are placed in the mouth 
 and, apparently, swallowed, being immediately afterwards 
 produced from the ears, or any part of the body that 
 fancy may suggest. 
 
 The balls are small pieces of camphor cut to shape, 
 and are lighted in the flame of a candle. They should be 
 tossed from one hand to the other, and finally into the 
 mouth, which should forthwith be closed. This, of course, 
 
 G 2 
 
84 OONJURING FOR AMATEURS. 
 
 extinguishes the balls, which should be secretly removed at 
 the earliest opportunity. 
 
 The reproduction of the balls of fire is managed with the 
 aid of the acid tubes mentioned on p. 82, which, together 
 with a small quantity of the powder, should be wrapped up 
 in flash paper, and deposited about the person as required. 
 The best effect, however, is obtained by producing them 
 from behind the ears ; it is also a very convenient method, 
 as the tubes are not so likely to be prematurely fractured. 
 
 Exploding Soap-bubbles.— This is a novelty, and will be 
 found to produce a very good effect. The bubbles are blown 
 in the usual way with an ordinary clay pipe, the only pre- 
 paration necessary being that the bowl of the pipe must be 
 filled with cotton- wool soaked in gasolene. Bubbles blown 
 with a pipe thus prepared will be found to explode in a flame 
 when approached with a light. 
 
 Walnut Shells and Pea. — This is an excellent table 
 trick, and can be performed at close quarters without much 
 fear of detection. The only articles required for the execution 
 of the trick are three half walnut shells and a pea. The 
 three shells are laid in a row on the table, the pea being 
 placed under the centre one, from which position it 
 disappears and is ultimately found under either of the 
 end ones at the will of the performer. The table used 
 must be covered with a cloth of some kind. 
 
 The secret Hes in the pea, which is fashioned from a piece 
 of indiarubber, but unless closely inspected cannot be dis- 
 tinguished from the ordinary everyday article. When pre- 
 senting the trick the pea is actually placed under the middle 
 shell. The shells are then, each in turn, commencing from 
 the one on the left, pushed up the table about Sin. 
 When moving the middle one the pea, owing to its nature 
 
MISCELLANEOUS TBIOKS. 85 
 
 and the concavity of the shell, will be found to work its way- 
 out, when it is instantly seized with the thumb and middle 
 finger. This, however, cannot be suspected, as the hand 
 retains a perfectly natural position. The third shell is then 
 moved into a line with the other two. 
 
 The pea can now be caused to appear under either of the 
 shells at pleasure, all that is necessary being to leave it on 
 the table immediately behind the shell in the act of raising 
 the same. 
 
 In effect this trick is identical with that known as 
 "Thimble Rigging," which it is therefore needless to de- 
 scribe, but the secret is much prettier and calculated to 
 deceive more thoroughly. 
 
 The Garter Trick. — This is a very old trick, and from its 
 title will be recognized at once as common to the sharps 
 who frequent ra-ce- courses. It is not, however, generally 
 known, and as it forms a good table trick a description of 
 it may not be out of place. It is usually performed with a 
 piece of stiff half -inch tape ; an ordinary inch- tape measure 
 will answer the purpose admirably. The tape is folded in half 
 and coiled round and round on the table until it is almost 
 Impossible to teU for certain which 
 is the loop proper, i.e., the point 
 at which the tape was doubled (see 
 Fig. 22). The bystander is then B 
 requested to place the point of his 
 penknife in the loop, but however 
 careful he may be in his selection 
 he will fail, as the performer is 
 able to puU the tape clear of the „,,„„„ op IoSiko t-^e. 
 knife in all cases. The secret lies 
 
 in the fact that the tape is not folded exactly in half, one 
 end being left shorter than the other by about 3in. When 
 
86 
 
 CONJUEING FOE AMATEUES. 
 
 uncoiling the tape, if the knife be actually placed in the loop, 
 and both ends are pulled from the point A, it will not come 
 away ; but if the short end be passed round to the left and 
 both ends pulled from the point B, it will be found to come 
 clear of the knife. All the performer has to do, therefore, is 
 to watch and see if the knife is really placed in the loop or 
 otherwise, and to act accordingly. The 
 short end is- carried round under cover of 
 the fingers while twisting the tape. 
 
 Fig. 22 is arranged for clearness, but in 
 actual practice the tape would receive many 
 more twists, which would also be of a more 
 intricate nature. 
 
 The Tube and Ball. — This is a very in- 
 genious trick, and well worthy the attention 
 of the most fastidious, performer. It can be 
 used in several ways. 
 
 The apparatus consists of a piece of l^in. 
 brass tubing about Tin. long, with a cap of 
 the same metal fitting loosely over one end ; 
 also two billiard balls about the size of the 
 diameter of the tube. The audience, how- 
 ever, are not supposed to know of the ex- 
 istence of more -^than one ball. (See Fig. 
 23. ) The tube and cap, together with the 
 ball, are given for examination, attention 
 being drawn to the fact that the ball will 
 readily pass through the tube. After exam- 
 ination the tube is stood on one end on the 
 table and covered with the cap. The operator then takes 
 the ball and vanishes it by means of sleight of hand, when, 
 on the tube being raised, it has to all appearance been 
 passed underneath. 
 
 Fig. 23. 
 
 Tube, Ball, and 
 
 Cap. 
 
MISCELLANEOUS TEtOKS. 8t 
 
 The secret lies in the fact that there is a very sraall dent 
 in the side of the tube at the centre ; also that one of the 
 balls — that given for examination — is slightly smaller than 
 the other. The small ball runs freely through the tube, 
 but the large one will not pass the centre on account of the 
 indentation. 
 
 On receiving back the tube the performer secretly drops 
 the large ball into it, which, owing to the force of the fall, 
 is pinched in the centre and will not fall out. In this condi- 
 tion the tube can be turned about in all directions and will 
 still appear empty. When placing it on the table the 
 performer is careful to bring it down rather smartly on the 
 end at which the ball was introduced, when, owing to the 
 concussion, the ball is released and falls on the table. 
 
 The tube can be used to cause the disappearance of a 
 ball in the following manner : — Place the ball on a tea plate 
 and cover it with the tube, which in turn cover with a second 
 plate. By reversing the position of the structure the ball 
 falls into the tube, where it is retained in the manner de- 
 scribed, and after a little more twisting and turning, to add 
 to the general confusion, the plates are removed and the 
 ball is proved to be non est. 
 
 The ball can of course be reproduced if desired ; or if two 
 tubes are used it may be, apparently, passed from one to 
 the other. In this case, however, I would suggest that 
 round discs of wood be used in place of the plates, as the 
 latter would be likely to get fractured in the act of bringing 
 the tube down with sufficient force to dislodge the baU. 
 
 The Ubiquitous Thimble. — This is one of the prettiest 
 sleight of hand tricks in existence, and requires very little 
 practice. For the purpose of the trick, in its entirety, the 
 performer must be provided with two thimbles exactly 
 alike ; but very many surprising passes can be made with 
 
m 
 
 CONJUEING FOR AMATEURS. 
 
 one thimble only. The idea of the trick proper is to cause 
 a thimble placed on the forefinger of the right hand to dis- 
 appear and be fomid on the corresponding finger of the 
 left hand, without the hands approaching each other. It 
 is usual, however, in the first place, to execute a number of 
 with one thimble only, as by this means the 
 
 i 
 
 Fig. 24. Palming Thimble. 
 
 audience will be the less likely to suspect the introduction 
 of the second one. The main thing necessary is to acquire 
 the knack of holding a thimble in the fleshy portion of 
 the hand at the root of the thumb, in which position it can 
 be placed, or removed at pleasure, by simply bending the 
 
 Fig. 25. Thimble Palmed. 
 
 forefinger (see Figs. 24 and 25). This sleight must be 
 executed with equal facility with both hands. 
 
 When about to present the trick the -performer comes 
 forward with a thimble on the forefinger of the 'ght hand, 
 the second one being in the left-hand trousers pocket. He 
 now appears to place the thimble in the left hand, but 
 
MISCELLANEOUS TBIOKS. 89 
 
 really, when the right hand is in motion towards the left, 
 it is palmed as described. The left hand is then brought 
 down with some force on the head and the thimble pro- 
 duced from the mouth on the forefinger of the right hand. 
 This can be done with perfect ease, as, so long as the hand 
 is kept in motion during the recovery of the thimble, there 
 is no fear of the movement being detected. 
 
 The thimble is then apparently placed in the mouth, 
 really being palmed as before, and afterwards produced 
 from the bottom of the vest. While doing this the per- 
 former stands with the left hand in the trousers pocket and 
 palms the second thimble. Both hands are now held 
 palms away from the spectators, and kept in continual 
 motion. Under cover of this the right-hand thimble is 
 palmed, and that in the left hand produced, when it will 
 appear to have been passed from one hand to the other. 
 This can be repeated as often as desired. 
 
 Finally the second thimble should be secretly disposed of, 
 and the trick brought to a conclusion with a pass per- 
 formed with the one only. 
 
 An additional effect may be obtained by the use of two 
 thimbles, one fitting over the other. These should be 
 made in thin metal so as to be, in point of size, as near 
 ahke as possible. The two thimbles, which appear as 
 one only, are placed on the forefinger of the right hand, 
 and covered with a small paper cone, with the remark, 
 "You see the cone just fits the thimble ; I will now show 
 you a rather extraordinary experiment with the same," 
 The cone is then removed, with slight pressure at the base, 
 and placed on the table on the supposition that it is empty, 
 but it really contains the uppermost thimble. The one left 
 on the finger is then vanished, under cover of a throwing 
 movement towards the cone, which is then removed by the 
 apex and the thimble discovered. 
 
90 OON;tUElNQ FOB AMATEURS. 
 
 While all attention is drawn to the table the duplicate 
 thimble is dropped into the profonde. 
 
 The Multiplyiugf Wand. — The performer comes forward 
 with a plain polished ebony conjuring wand of the ordinary- 
 pattern, which he waves about in the air, when it is 
 suddenly seen to have multiplied into two. He then 
 wraps one of these in a piece of newspaper which he in- 
 stantly crushes into a small compass in his hands, the 
 wand having entirely disappeared. 
 
 It is needless to say that to produce the above effect two 
 wands are necessary. One, however, is very different from 
 what it represents itself to be, being a mere shell of black, 
 glazed paper. 
 
 Prior to the commencement of the trick the soUd one 
 is encased in the shell, and in this condition it is brought 
 on the stage. In the course of waving it about, the solid 
 article is allowed to sUde out of the case, a wand being 
 shown in each hand. These can both be proved, in 
 conjurer's logic, to be perfectly sohd by adopting the 
 following ruse : — 
 
 The performer strikes the table several times with the 
 one in the right hand, which should be the soUd one, after 
 which it is apparently placed in the left hand, and the one 
 already there taken and treated in the same way. When, 
 however, the two are both together in the left hand the 
 sohd one is again taken, but the spectators, having no 
 reason to suspect trickery, will suppose that the wands 
 have actually changed places. The shell is then roUed 
 up in a piece of paper and crushed in the hands, wheng 
 to all appearance, the wand will have disappeared. 
 
 The trick may very well end here, or the vanished wand 
 may be reproduced. This may be done by having pre- 
 viously concealed a second sohd wand in the leg of the 
 
MlSOELiiANEOUS TBIOES. 91 
 
 trousers, in a pocket similar to that in wliich carpenters 
 carry a rule. The two solid wands may then be struck 
 together, proving their soUdity beyond doubt. 
 
 The Restored Cut. — This is a very interesting little 
 trick, and is especially suitable for an after-dinner surprise. 
 The performer takes a needle containing about a yard of 
 thread, and passes it through an apple. The cord is then 
 pulled backwards and forwards, after which the apple is 
 cut in half with a table knife; both portions are shown, 
 the cord having to all intents and purposes been severed. 
 The two portions are then united and the cord is pulled 
 backwards and forwards as before. 
 
 The performer prepares for the trick by passing the needle 
 in at the side of the apple and bringing it out at the end 
 opposite the stalk, in which condition it is laid on the table. 
 
 When about to present the trick the performer takes up 
 both articles, which if held properly will appear to be 
 separate, and announces that he is about to pass the 
 thread through the apple. He apparently does so, but 
 really inserts the needle at the point where it came out, 
 passing it to the opposite side. The thread is now pulled 
 backwards and forwards, when it will appear to actually 
 traverse the centre of the fruit. 
 
 The apple is then cut in half, at right angles to the cord, 
 which under the circumstances will remain uninjured. The 
 parts are now handed round for inspection, care being taken 
 to keep them together at the bottom, after which they are 
 replaced and the cord shown to be intact. At the conclu- 
 sion of the trick the thread should be withdrawn from the 
 fruit and given for examination ; this also prevents the dis- 
 covery of the secret by any inquisitive spectator. 
 
 The Mysterious Tambourine. — It is generally under- 
 stood that, should the silk hat go out of fashion, conjurers 
 
92 
 
 CONJUEING FOE AMATEUES. 
 
 Fig. 26. 
 BiNGS FOB Tambourine. 
 
 would be at a loss for a suitable article wherewith to work 
 the Jiumerous " production " tricks. Should such a calamity 
 ever befaU the profession the mysterious tambourine will, 
 to some extent, come to the rescue. 
 
 The apparatus consists of two nickel- plated brass rings, 
 8in. in diameter and lin. deep ; 
 the one fitting easily over the 
 other (see Fig. 26). The tam- 
 bom'ine is constructed by placing 
 a sheet of paper between the two 
 rings, and pressing the upper one 
 down over the lower, the edges 
 of the paper being afterwards 
 trimmed round with scissors. 
 Thus prepared it is shown back and front. 
 
 The prestidigitateur then makes a small hole in the centre 
 of the paper with his wand, and immediately commences 
 to twist out yard after yard of coloured paper ribbon, 
 sufficient being obtained to fiU a large clothes basket. If 
 the performer desires to add to the effect of the trick the 
 production of the ribbon may be preceded by that of a 
 number of handkerchiefs, also a quantity of spring flowers 
 and other articles of a like nature. Finally a rabbit or 
 a large bird cage containing a live bird may be produced 
 from the pile of ribbon. 
 
 The explanation is very simple. The tambourine is put 
 together at the rear edge of the table, and when taking it 
 up prior to trimming the edges, the coil, which was on 
 the servante or suspended at the back of the table, is 
 brought away under cover of the paper and pressed into 
 the ring. The back of the coloured coil should be rubbed 
 over with chalk to match the white paper used in the con- 
 struction of the tambourine, which can then be shown back 
 and front, but will still appear empty. 
 
MISCELLANEOUS TEICKS. 93 
 
 The flowers should be done up in three packets of twenty 
 each and laid on the coil, being covered with the handker- 
 chiefs, which should be folded up neatly. The packet is 
 then tied together with thin cotton, which can easily be 
 broken when required. 
 
 The rabbit is in readiness in the profonde on the right 
 side, and is introduced into the ribbon when picking it up 
 from the floor. 
 
 The cage, which should be a folding one, is suspended 
 behind the back of a chair, over which the ribbon would be 
 thrown while performing a simple trick with one of the hand- 
 kerchiefs. In the act of taking the ribbon from the chair 
 opportunity would be found for introducing the cage unob- 
 served. 
 
 The Bran and Dove Plates. — The trick I am about to 
 describe, in its primary form, consists of changing a quantity 
 of bran or flour into a live dove. It can, however, like the 
 tambourine, be made available for the production of various 
 articles, and is especially suitable for the magical distribu- 
 tion of bonbons, sweets, etc. 
 
 The performer comes forward with an ordinary soup plate 
 filled to overflowing with bran, a portion of which is scattered 
 over the stage to prove its genuineness. The bran is then 
 covered with a second plate, which on being removed reveals 
 a live dove, the bran having entirely disappeared. 
 
 The explanation is as follows : — One of the plates is fitted 
 with a tin lining, enamelled white on the inside to represent 
 the china (see Fig. 27). The supposed bran is really this 
 tin lining turned upside down with bran gummed all over 
 it ; a handful of loose bran being thrown on the top. It is 
 hardly necessary to say that the dove is already in the 
 plate concealed by the bran shape. 
 
 The false heap of bran is now covered with the second 
 
94 CONJURING FOR AMATEURS. 
 
 plate, and while talking the performer, in a careless way, 
 turns the plates over several times, finally placing them on 
 the table in such a manner that the one that was formerly 
 
 Fig. 27. Plate and Tin Lining. 
 
 uppermost shall now be at the bottom. All he has to do 
 now is to remove the uppermost plate and take out the 
 dove. The inside of the bottom plate should now be shown, 
 when it will appear perfectly empty. 
 
 In place of the dove the plate may be loaded with sweets 
 and small toys, for distribution ; or with a list of articles 
 similar to those produced from the tambourine. If a coil 
 of ribbon be used it should be a coloured one, with one side 
 rubbed over with chalk so that the inside of the plate may 
 be shown prior to its production. 
 
 By using two pairs of these plates, and being provided 
 with two doves exactly aUke, the bran in one may be 
 made to, apparently, change places with the dove in the 
 other. 
 
 The Wandering Stent. — The feat bearing this title con- 
 sists of causing a glass of stout to pass through the crown 
 of a borrowed hat. Having obtained the loan of two hats, 
 the performer places them on the table mouth to mouth, 
 and stands the glass of stout on the crown of the uppermost 
 one, covering it with a paper cyUnder of the same height as 
 itself. On removing the cylinder it is shown to be perfectly 
 
MISCELLANEOUS TEIOKS. 95 
 
 empty, the glass being immediately taken from the lower 
 hat. 
 
 For the performance of the trick the operator must be 
 provided with a glass, 3J-in. high by 2Jin. in diameter at 
 the mouth, tapering very slightly towards the bottom. The 
 kind known as picnic glasses will be found the most suitable. 
 In addition to the glass and the paper cylinder a piece of 
 glass tubing of the same height as the tumbler, and large 
 enough to pass easily over the same, will also be required. 
 This piece of tubing must be blackened on the inside to 
 within lin. of the top, and finished with a little white paint 
 to represent froth, when, thus prepared, it will readily pass 
 for a glass containing stout. 
 
 The paper cyUnder, containing the sham glass, being on 
 the table, the performer comes forward with a bottle of 
 stout and fills the tumbler. He then takes up the cyUnder 
 and passes his wand right through it, as if to prove that it 
 has not undergone any preparation, after which he places 
 it over the glass of stout. He then puts the glass, still 
 covered with the cyUnder, into one of the hats, with the 
 remark " I will now cause the tumbler to pass from one hat 
 to the other," then, as if struck with a sudden thought, 
 changes his mind, saying " No, perhaps it would be more 
 effective if I place the hats one over the other, and pass 
 the glass through the crown of the uppermost one." Say- 
 ing this he, apparently, takes the tumbler, still under cover 
 of the cylinder, from the hat, and places it in the required 
 position. Eeally, however, the stout was left behind, the 
 cylinder and counterfeit glass alone being removed. 
 
 Now, in order to satisfy the spectators that the stout is 
 actually on the crown of the hat, the performer lifts the 
 cyUnder and exposes the sham glass, which everyone be- 
 Ueves to be the genuine article. The cover is then replaced 
 and the tumbler commanded to pass into the lower hat, 
 
96 
 
 CONJUBING FOR AMATEURS. 
 
 after which it is again raised, together with the counterfeit, 
 and the wand passed through it as before. The hats are 
 then separated and the glass is produced from the lower one. 
 
 Fig. 28. 
 Arrangement of Juo and Glasses 
 
 A Crystal Water Mystery.— Chemical tricks, as a rule, 
 do not meet with much favour at the hands of professional 
 
 conjurers. The reason is pretty 
 clear, as, in the majority of 
 cases, the modus operandi is 
 too palpable. The one I am 
 about to describe, however, 
 owing to the number of 
 changes produced, is an ex- 
 ceptionally good one, and is 
 to be found in the repertoire 
 of the leading performers of 
 the day. 
 
 Four empty glass tumblers, 
 together with a glass jug full 
 of water, are arranged on a tray as shown in Fig. 28. 
 Water poured from the jug into — 
 No. 1, is seen to be clear. 
 No. 2, changes to stout. 
 No. 3, is seen to be clear. 
 No. 4, again changes to stout. 
 Nos. 1 and 2 mixed equal stout. 
 Nos. 3 and 4 mixed equal water. 
 Nos. 1 and 2 put back into the jug give all stout. 
 Nos. 3 and 4 put back into the jug give all water, 
 as at first. 
 The explanation, although by no means obvious, is very 
 simple. Glass No. 1 is perfectly clean. No. 2 contains 
 a small portion of pyrogallic acid, about the size of a pea. 
 No. 3 is prepared with half a teaspoonful of sulphuric acid. 
 
MISCELLANEOUS TEICKS. 97 
 
 No. 4 contains the same quantity of pyrogallic acid as 
 No. 2, The jug contains clear water, into which a tea- 
 spoonful of sulphate of iron is dropped just before the trick 
 is commenced. The iron should not be placed in the water 
 until actually required for use, as the solution changes 
 rapidly to a yellow colour, in which condition it would not 
 very well pass for water. For the same reason the jug 
 should be removed immediately after the trick. 
 
 Some performers prefer to use the following chemicals in 
 place of those enumerated above. I will give them in the 
 same order, and then the magician may choose for himself. 
 Glass No. 1, as before, is quite clean ; No. 2 contains a few 
 drops of muriated tincture of iron ; No. 3, a teaspoonful of 
 a saturated solution of oxalic acid ; and No. 4 is prepared 
 in the same manner as No. 2. A teaspoonful of tannic acid 
 should be added to the water in the jug prior to the com- 
 mencement of the experiment. 
 
 I myself always use the sulphuric acid, as I believe it 
 produces the best result, but in the case of a spill it is 
 very dangerous, and on this account the latter method is to 
 be preferred. The changes, in either case, are quite in- 
 stantaneous, hence the trick produces a most extraordinary 
 effect. 
 
 The Wizard's Breakfast. — The magical production of 
 steaming hot coff'ee has always been a favourite trick with 
 the juveniles, especially when the beverage is handed 
 round for their consumption, and various pieces of 
 apparatus have been designed for effecting this purpose. 
 The most up-to-date method, however, is the one hereafter 
 described : 
 
 Two boxes, without Uds, sizes about 12in. by Sin. by 
 8in., usually fitting one within the other for convenience in 
 travelling, and containing respectively cuttings of blue and 
 
98 CONJUEING FOR AMATEURS. 
 
 white paper, are introduced to the audience. Two pint 
 goblets, in metal, are then filled, one with blue, and the 
 other with white paper from the boxes, after which they 
 are covered with small silk handkerchiefs. On removing 
 the handkerchiefs the blue and the white papers are found 
 to have been transformed respectively into hot coffee and 
 hot milk. The performer then pours a portion of each 
 fluid into a breakfast cup, and makes a motion as if 
 throwing the whole over the audience, when nothing falls 
 but a shower of blue and white paper cuttings, every 
 vestige of the coffee and milk having 
 disappeared. 
 
 There are in reality four goblets 
 employed in the trick, two of which, 
 containing the fluids, are concealed in 
 the boxes unknown to the spectators. 
 These two are provided with shallow 
 trays fitting loosely within them at the 
 top, each tray being filled with paper 
 of the required colour (see Fig. 29). 
 When presenting the trick the per- 
 Fig. 29. former comes forward with the box 
 
 Goblet wi^t^h Shallow containing the white paper, and throw- 
 ing a handful in the air, calls out, 
 *'Out in the cold," which remark is perfectly justifiable, 
 as the paper gives a faithful representation of falling snow. 
 Placing this box on the table, and taking up that con- 
 taining the blue paper, he scatters a handful over the 
 stage with the remark ''This is the same as the white, 
 only the wind hliie it." He now takes one of the goblets 
 from the table and appears to fill it with white paper, 
 but really, while in the box, an exchange is made for 
 the one containing the milk, which, owing to the presence 
 of the shallow tray, will appear to be full of paper. 
 
MISCELLANEOUS TRICKS. 99 
 
 This is then covered with a handkerchief, after which 
 the second goblet is treated in like manner. 
 
 The shallow trays have each a piece of wire projecting 
 from their upper edge to enable the performer to remove 
 them under cover of the handkerchiefs. The handker- 
 chiefs are thrown in a careless manner over the sides of the 
 boxes, into which, if sufficient paper has been provided, 
 the trays may be secretly allowed to fall. 
 
 The cup and saucer will next require our attention. 
 These are of metal in imitation of the genuine article, the 
 saucer being made double, with a small hole in the centre 
 of its upper side, for a purpose 
 that will presently appear. The 
 cup is provided with a perpen- 
 dicular division nearly in the 
 centre, a small hole being 
 drilled in the bottom of that 
 side next the handle (see Fig. 
 30). 
 
 The front and larger side is 
 
 filled with a mixture of blue „ *3^- 
 
 . Prepared Cup and Saucer. 
 
 and white paper cuttmgs, and 
 
 thus prepared, together with the saucer, it is placed on 
 the table. When pouring the coffee and milk into the 
 cup the performer takes care that it goes into the space 
 provided with the small hole, through which it im- 
 mediately runs into the body of the saucer. 
 
 It is usual to bring the trick to a conclusion by apparently 
 throwing the fluid over the audience as already described, 
 but should the performer be provided with a number of 
 small cups and a tray, that portion of the beverage not 
 used may be handed round as refreshments. 
 
 The Hydrostatic Tube.— This is a trick of comparatively 
 
 H 2 
 
100 
 
 CONJUBING FOB AMATEXJES. 
 
 recent invention. It requires very careful handling, and the 
 performer must be possessed of almost superhuman nerve 
 to present it successfully to a critical audience. It pro- 
 duces, however, a most extraordinary effect, and on this 
 account is to be recommended. 
 
 A piece of paper is placed at the bottom of a glass tube or 
 chimney used for gas, which is then filled 
 with water, while the top of the tube is 
 covered with a second piece of paper. 
 The right hand is then placed on the top 
 paper and the position of the tube reversed. 
 The papers are then, each in turn, re- 
 moved, but the water does not fall from 
 the cylinder : on the contrary, it remains 
 suspended without visible means of sup- 
 port. The papers are now replaced, and 
 the top one is pierced with a hat-pin, 
 when, on the pin being withdrawn, the 
 water at once falls into a basin placed 
 ready to receive it under the tube. 
 
 This surprising result is due entirely 
 to a well-known natural law, viz., the 
 pressure of the atmosphere, and is nothing 
 more nor less than a modification of the 
 old school- boy trick of keeping a glass of 
 water inverted by means of a sheet of 
 paper. The new arrangement will, how- 
 ever, require special explanation. 
 Each end of the cyUnder is fitted with a glass cap, 
 grooved to fit into and over it at the same time : this is 
 necessary to avoid slipping. The ends of the tube, also 
 the edges of the taps, must be ground, so that the point of 
 juncture shall be air-tight. One of the caps has a small 
 hole drilled through the centre (see Fig. 31). 
 
 Fig. 31. 
 
 Glass Cylinder and 
 
 Caps. 
 
MISCELLANEOUS TRICKS. 101 
 
 When about to present the trick the two glass caps are laid 
 on the bottoms of two upturned tumblers, where they are 
 quite invisible. The performer then draws attention to two 
 square pieces of paper, which he dips into the water con- 
 tained in the bowl, afterwards laying them down on the 
 glass tumblers, and over the glass discs. He next shows 
 the tube, passing his wand through it to prove that it has 
 not undergone any preparation. Then taking one of the 
 papers, and at the same time secretly securing one of 
 the discs (not the one with the hole in it), he places it 
 at the bottom of the tube, which is forthwith stood on the 
 palm of the left hand. The tube is then filled with 
 water and covered with the remaining piece of paper and 
 glass cap. 
 
 The position of the tube is then reversed, after which it is 
 taken by the centre and both papers are removed. The water 
 will not run out from the small hole in the bottom cap 
 owing to the fact that no air can get in at the top. The 
 glass caps being absolutely invisible, the water will now 
 appear to be suspended in the tube without any natural 
 means of support. 
 
 The papers are again placed on the ends of the tube, 
 where, being wet, they readily adhere. The hands are 
 now placed one on each end and the tube is reversed ; this 
 is necessary to bring the cap with the hole in it to the top. 
 The top paper is then pierced with the hat-pin, which, 
 passing through the hole in the cap, gives the impression 
 that there cannot be anything but the paper covering the 
 ends of the tube. When the pin is withdrawn the air 
 rushes into the tube, and, as a natural consequence, the 
 paper and disc fall from the bottom, liberating the water. 
 The bowl should be half full of water whefi the cap falls, to 
 avoid fracture of the glass. The cap is then brought away 
 from the top of the tube under cover of the piece of paper, 
 
102 
 
 CONJUEING FOB AMATEURS. 
 
 and both are dropped into the bowl, when the tube can be 
 once more given for examination. 
 
 ^ The Hydrostatic Tumbler.-This trick, which is similar 
 in principle to that immediately preceding it, is preferred by 
 some as being less cumbersome ; it is also easier to work 
 and consequently entails less anxiety on the part of the 
 
 performer. The effect, however, 
 
 although pretty, is not quite so 
 startling. 
 
 The necessary apparatus con- 
 sists of a glass tumbler with a 
 small hole drilled in the side lin. 
 from the bottom, the mouth of 
 which must be fitted with a glass 
 cap in the same manner as the 
 tube in the preceding trick (see 
 Fig. 32). 
 
 The performer having drawn 
 attention to the tumbler, also a 
 small piece of paper, dips the 
 latter into a bowl of water, and 
 lays it down over the glass cap. 
 The tumbler, held with the thumb 
 covering the small hole, is then 
 filled with water from the bowl, 
 and covered with the piece of paper under which, unknown 
 to the audience, is the glass disc. The glass is then in- 
 verted and the paper withdrawn, the water remaining 
 suspended without visible means of support. The tumbler 
 can now be turned about in any direction, without the 
 least fear of the water escaping, so long as the thumb is 
 kept over the small hole in its side. It can also be 
 stood on the table, the hand being removed entirely; the 
 
 Fig. 32. Tumbler and Cap. 
 
MISCELLANEOUS TBIOKS. 103 
 
 water cannot escape through the small hole owing to the 
 presence of the cap. 
 
 The tumbler is once ^more raised and inverted, when the 
 performer undertakes to cause the water to -fall at any 
 given number counted by the audience. This last effect, 
 which adds considerably to the trick, is brought about by 
 very simple means; all the performer has to do is to 
 remove the thumb covering the small hole, when the air 
 rushes in and causes the disc to fall. The bowl, as before, 
 should be half full of water, to provide a cushion for the 
 falling disc, which under these circumstances will not be 
 injured, nor its presence detected. 
 
 Watch, Glass, and Handkerchief. — This is a trick 
 of genuine sleight of hand, and will test the performer's 
 ability in several ways. In effect it is as follows : — Having 
 obtained the loan of a silk hat and a lady's gold watch, the 
 performer wraps the latter in a small silk handkerchief, and 
 thus cared for, places it in a champagne tumbler. The 
 watch, glass, and handkerchief are now caused to vanish 
 one at a time, being, apparently, passed up behind a beam 
 on the ceiling. The hat is then taken, shown perfectly 
 empty, and held at arm's length above the performer's head. 
 The vanished articles are now collected, one at a time, in 
 the hat, into which they are actually heard to fall, being 
 removed as they arrive by the performer. 
 
 The modus ojperandi is as follows : — The watch is 
 enfolded in the handkerchief in the same manner as the 
 coin is enfolded in the paper in "A New Coin Fold" 
 (p. 15), and after having taken it down to the lady that 
 she may satisfy herself by its tick that it is still there, 
 and when returning with it to the stage, it is allowed to 
 slide out of the handkerchief into the profonde on the 
 left side. The handkerchief, which is still supposed to 
 
104 CONJURING FOR AMATEURS. 
 
 contain the watch, is then placed in the tumbler, which 
 is in turn covered with the hat. 
 
 You then address the audience somewhat as follows : — 
 " Ladies and Gentlemen, it is my intention to pass these 
 three articles — the watch, glass, and handkerchief — up 
 behind that beam on the ceiling. Would you like them to 
 go separately or one at a time f The last remark, owing to 
 its stupidity, will probably be well received : it, however, 
 means nothing, and you continue, "Visibly or invisibly?" 
 The reply to this is sure to be " Visibly. " You then re- 
 mark : " Well, in that case I shall have to remove the hat. " 
 This you do with the right hand while standing with the 
 right side to the audience ; the left hand under cover of the 
 body taking the watch from the profonde. The hat is then 
 immediately transferred to the left hand, and the watch 
 allowed to slide into it in the act of placing it on the table. 
 Should the reply to the question, '* Visibly or invisibly?" 
 be ♦♦ Invisibly, " the performer need not become confused, 
 as in any case the articles do actually go invisibly. In this 
 case the reply would be, "Certainly, with the greatest 
 pleasure, but for the purpose of the trick I must remove the 
 hat." 
 
 The evanishment of the watch is caused by simply taking 
 up the tumbler and shaking out the handkerchief. 
 
 The disappearance of the tumbler is effected with the 
 aid of a large sheet of newspaper ; a sheet torn from the 
 Daily Telegraph will answer every purpose. In this case 
 you would not omit to mention that you always use the 
 Telegraph in preference to the Post, it being the more 
 expeditious. The sheet of paper is pressed over the tumbler 
 and moulded well into the shape of the same, the tumbler 
 being removed under cover of the edges of the paper and 
 dropped into the profonde on the left side. The centre of 
 the paper bearing the profile of the glass is then crushed 
 
MISCELLANEOUS TBICKS. 105 
 
 between the hands, when to all appearance the tumbler will 
 have vanished. 
 
 The handkerchief is disposed of by palming in the usual 
 way, when the right hand containing it immediately grasps 
 the hat and turns it upside down. This is done by extend- 
 ing the fingers to catch the watch, which then remains hidden 
 in the hand with the handkerchief, when the hat can be 
 shown to be empty. 
 
 The hat is now held above the head, and after due 
 dramatic effect, the watch is allowed to fall from the hand, 
 after which it is taken from the hat and handed back to the 
 owner. The hat is once more shown empty, after which 
 the handkerchief is obtained in the same way. This time, 
 however, the hat is turned upside down and the handkerchief 
 allowed to faU on the floor. 
 
 While all eyes are on the handkerchief the left hand 
 obtains the glass from the profonde, and in the act of 
 changing the hat over into the left hand to pick up the 
 handkerchief with the right, it is thereby introduced. The 
 hat containing the glass is then held upside down as 
 previously instructed, and both sleeves are pulled back 
 while passing it from one hand to the other. Finally 
 the glass is produced, it being heard to fall into the hat, 
 whence it is taken in due course. 
 
 Paper Cone, Watch, Babbit, and Boxes. — The effect of 
 this excellent stage trick is as follows : A watch is borrowed 
 and dropped into a conical paper bag held by one of the 
 spectators. The performer then loads the magic pistol with 
 a small silk handkerchief ; this he fires in the direction of 
 the bag, after which the bag is opened and found to contain 
 the handkerchief, the watch having disappeared. Atten- 
 tion is next drawn to a box, which has been hanging over 
 the head of the performer from the commencement of the 
 
106 
 
 CONJURING FOE AMATEURS. 
 
 entertainment, and which on being opened is found to 
 consist of a nest of six boxes, the smallest of which con- 
 tains a rabbit with the borrowed watch tied round its neck. 
 The main secret of the trick lies in the paper bag, which 
 is really double, consisting of two pieces of paper gummed 
 together round the edges, the corner of one piece being 
 removed, as in Fig. 33. 
 
 At the commencement of the trick a small silk handker- 
 chief is hidden between the two pieces of paper. When 
 making the bag it must be so arranged that the corner at 
 which is the opening is at the top. Under cover of the 
 
 point of the bag the 
 handkerchief is re- 
 moved from its place 
 of concealment and 
 dropped into the bag 
 proper, the double 
 side being immedi- 
 ately pulled over to 
 the opposite side of 
 the bag to again con- 
 ceal the handkerchief. 
 If the bag is well 
 made, and this side well creased over, a casual glance into 
 its interior will reveal nothing suspicious. In this con- 
 dition the bag is given to a spectator to hold, and he is then 
 requested to drop the watch into it, which he does, as he 
 thinks, into the bag proper, but really the watch falls into 
 the position previously occupied by the handkerchief. The 
 top of the bag is then folded over. 
 
 The performer now loads a duplicate handkerchief into 
 the pistol, and, having disposed of it in the usual way, fires 
 in the direction of the bag. He then unfolds the bag and 
 shakes out the handkerchief, being careful to hold the 
 
 Fig. 33. Plan of Paper Bag. 
 
MISCELLANEOUS TEIOKS. 107 
 
 watch so that it does not fall at the same time. He then 
 crumples up the paper in his hands, and in the act of doing 
 so tears out the watch, which is forthwith palmed, the paper 
 being thrown away. 
 
 The box, which should be suspended with two cords over 
 pulleys, is then lowered ; and when taking it in his hands 
 to place it on the table the performer is able to secretly 
 attach the watch to a swivel hook which is hanging on the 
 side most remote from the audience. This swivel hook is 
 attached to the ribbon round the rabbit's neck, the arrange- 
 ment being as follows : — The ribbon is tied round the rabbit, 
 which is then placed in the smallest box, the ribbon being 
 allowed to hang outside the box when the lid is closed. The 
 box is then placed in the next larger one, the ribbon still 
 being allowed to hang outside. This is continued until the 
 ribbon is left hanging on the outside of the last box. 
 
 The denouement will now be clear. As the boxes are re- 
 moved one after the other the watch is suspended behind 
 that last exposed ; and when the rabbit is taken out it will 
 be impossible to tell that the watch was not actually re- 
 moved from the same box. 
 
CHAPTER IX. 
 
 FAFEB-FOLDING. 
 
 The groundwork of the paper-folding is not by any means 
 new, having been known for several hundred years at least 
 under various names, as " Chinese Fan," "Fantastic Fan," 
 " Trouble Wit," etc., under which headings instructions have 
 been given from time to time for presenting many surprises 
 with a sheet of note-paper. It has, however, of late years 
 been much enlarged and raised to the dignity of a stage 
 feat, in which form it is either very little known, or, from 
 the trouble entailed in preparation and the necessary amount 
 of practice required to handle the paper neatly, does not meet 
 with much favour at the hands of professional performers. 
 As a stage feat in good hands, however, it never fails to gain 
 great applause, and being a novelty will prove an acquisition 
 to any conjuring programme. 
 
 The paper may be folded into over 100 different shapes, but 
 the effect produced depends entirely upon the ingenuity of 
 the performer in giving to each an appropriate name that will 
 be at once recognised and appreciated by the spectators. 
 
 The necessary preparation is as follows : — Obtain a large 
 sheet of stout cartridge paper, 54in. by 36in., and mark it 
 out longitudinally into five parts, the centre one of which 
 must be 12in., while the two on either side are equal, i.e., 
 6in. in each case. Having done this, fold the paper as 
 shown in Fig. 34 and press it quite flat. The next thing to 
 do will be to pleat it up into lin, pleats, adopting the same 
 
PAPEE-FOLDINa. 
 
 109 
 
 method as employed in making an ordinary fan from a plain 
 sheet of paper (see Fig. 35). The fan is now ready for 
 use. 
 
 Fig. 34. Sheet of Cartridge Paper Folded in Five. 
 
 The figures hereafter described have been arranged in 
 such a manner that their consecutive production subjects 
 the paper to the least possible amount of wear and tear, 
 
 ^iA/v^lAlAlAl/^lA^' 
 
 Fig. 35. Paper Folded and Pleated. 
 
 but it will be found advisable to strengthen any weak parts 
 with fine linen. 
 
 The first five figures are made toith the folds all closed. 
 
110 
 
 CONJURING FOR . AMATEURS. 
 
 1. Venetiau Blind. — A good representation of this is 
 given in Fig. 35, which shows the paper pulled open after 
 pleating. 
 
 2. Church Window. — This is obtained by pulling round 
 
 the corners of one end of 
 Fig. 35 until they meet 
 (see Fig. 36), still allowing 
 the paper to hang down 
 as in No. 1. 
 
 3. Rosette. — Close up 
 the pleats and pull round 
 the opposite end ; you will 
 thus obtain Fig. 36, of 
 which take special note, 
 as it forms the basis of 
 several other objects. 
 
 4. Table Mat.-This is 
 made by simply elongating the paper after showing No. 
 3, still keeping the ends pulled round. 
 
 5. Fan. — Let go both ends, close up the pleats, and open 
 the paper as an ordinary fan, which will be readily suggested. 
 
 For the following five figures one of the folds marked No. 1 
 in Fig. 34 iiiust be opened. 
 
 6. Epaulette. — After opening the fold, close up the pleats 
 and pull one corner of one end right round, as in No. 2. 
 Hold the paper with the right hand and place it on the left 
 shoulder. 
 
 7. Mushroom. — Let go the end after showing No. 6, and 
 pull the paper round as in No. 11 (see Fig. 37), but with 
 the open fold at the top. 
 
 Fig. 36. Rosette. 
 
PAPER-FOLDINa. Ill 
 
 8. Candlestick. — No. 7 turned upside down will give the 
 required resemblance. 
 
 9. Parachute. — Pull the paper round as in No. 12, and 
 
 you will obtain a perfect model (see Frontispiece ). 
 
 10. Welsh Hat. — This is obtained by placing No. 8 on 
 your head, with the bottom of the paper, forming the brim 
 of the hat, spread as required, the top being pointed as 
 much as possible. 
 
 For the construction of the next five figures it will he 
 ^ssary to open fold No. 2 on the same side. 
 
 11. Flower- Vase. — Having the two folds open on one 
 ide, pull the paper round as shown in Fig. 37. Hold the 
 
 'vase in the left hand, slightly opening the top with the 
 right. 
 
 12. Eastern Water-Pot. — Fold the paper round the 
 jverse way to No. 11 and close it up in the form of a vase, 
 rhich place on your shoulder (see Frontispiece). 
 
 13. Chinese Mandarin. — Construct No. 12, which turn 
 ipside down and place on your head, and you will obtain 
 
 le head-dress required, 
 
 14. Lamp-Shade. — This is really the same figure as No. 
 13, but it must be held with both hands in front of the 
 body, the bottom being spread as much as possible and the 
 top pushed up to a point. 
 
 15. Garden Seat. — PuU the paper open as in Fig. 35 
 and hold it so as to form a seat. 
 
 The four following figures will require fold No. 1 open on 
 both sides, 
 
 16. Sentry-Box.— The manipulations for this figure will 
 
112 CONJUBING FOB AMATEUES. 
 
 be exactly the same as No. 2, the folds forming the sides 
 and roof of the box. 
 
 17. Wash-Bowl. — This again will be the same as No. 3 
 (see Fig. 36), the folds in this case forming the sides of the 
 bowl. 
 
 18. Poot-Batli.— Still retaining your hold on the paper, 
 pull it out as in No. 4, 
 
 19. Shahzada. — Fashion No. 17, turn it upside down, 
 and place it on your head ; you will thus obtain a very good 
 representation of the head-dress of the Shahzada (see Fig 
 38, which is the same hat with the addition of the second, 
 or outer fold). 
 
 For the evolution of the remaining figures all four folds are 
 brought into play, 
 
 20. Faddle-Bozes of a Steamboat.— Having the two 
 
 folds open on each side of the paper, pull it round as when 
 making No. 11, and hold it in a horizontal position. This 
 figure also gives a very good representation of a dumb-bell 
 (see Fig. 37, which shows the formation of one of the 
 wheels). 
 
 21. Bonbon. — To reproduce this object you must pull the 
 paper round the opposite way to No. 20, i.e., as if you were 
 about to construct No. 12 (see Frontispiece, which shows 
 the formation of one end of the bonbon). 
 
 22. Beefeater.— This imposing piece of head-gear is pro- 
 duced by closing up the pleats and pulling the paper round 
 as in No. 3 (see Fig. 36). The hat is then placed i7i situ 
 as shown in Fig. 38. This figure never fails to gain the 
 plaudits of the spectators. 
 
 The above order has been arranged to faciHtate descrip- 
 tion, but in actual practice it should be varied somewhat, 
 
PAPER-POiiDINa. 115 
 
 and supplemented by other figures which the performer will 
 readily invent for himself. For mstance, it would never do 
 to present the " Chinese Mandarin " for the approbation of 
 the audience immediately after the "Eastern Water-pot" : 
 on the contrary, the paper must be handled in such a 
 manner that each figure appears to be formed independently 
 of any other, and solely by an effort of manipulation. 
 
 In my own entertainment I am in the habit of intro- 
 ducing this novelty as a feat of dexterity, and find it an easy 
 matter to execute forty different folds in five minutes. This, 
 however, is the outcome of long-continued practice, and I 
 must advise the would-be manipulateur to study slowness 
 and effect at the outset, or the destruction of the paper is 
 inevitable. After the paper has been prepared, each fold should 
 be carefully opened and well creased out, and this should be 
 done several times imtil they open quite easily. The 
 evolution of the figures may then be commenced. It is 
 hardly necessary to mention that the side on which are the 
 folds should be kept away from the audience as much as 
 possible. 
 
 One paper, with ordinary care, will last from fifty to one 
 hundred times according to the skill of the operator. 
 
 For the benefit of those of my readers who like fancy 
 names for their tricks, I must mention that the Paper- 
 Folding is sometimes called " Le Papier de Pere Mathieu," 
 after a French priest of that name who introduced the 
 pastime into France some two hundred years ago. 
 
 The three photographs illustrating the feat have been 
 reproduced from the Picture Magazim of November, 1895, 
 by kind permission of the proprietors, Messrs. Geo. Newnea 
 and Company. 
 
CHAPTER X. 
 
 CONCLUDING OBSERVATIONS. 
 
 Prepaeatoby to giving an entertainment, the performer 
 should arrange a programme, for his own private use, of 
 the tricks he intends to work, which should be rehearsed 
 over and over again until its order is indelibly fixed on the 
 mind. By adopting this method the performance will be 
 to a great extent simphfied. Each trick should have an 
 appropriate verbal accompaniment, technically known as 
 the "patter," or honiment, written underneath it, which 
 should in every case be learned off by heart. This, es- 
 pecially to the beginner, is a sine qua non, and very few, if 
 any, of the best performers work otherwise. 
 
 Having once become accustomed to a programme, it 
 should never be changed, in its entirety, for a new one. 
 If it be desired to vary the mode of procedure, this is best 
 done by the introduction of a new trick and the removal of 
 an old one. By such means the performer saves himself a 
 lot of trouble and anxiety, and is just as likely to give satis- 
 faction from the point of view of an audience. This is the 
 custom of professional performers, who very rarely alter 
 their programmes ; it also accounts in a large measure for 
 their skill. 
 
 It is a weakness with young performers to endeavour to 
 crowd too many tricks into the time allotted to their part. 
 This is a mistake, and is bound to lead to disastrous 
 results. Each trick requires its proper time, which is best 
 
CONCLUDING OBSERVATIONS. 117 
 
 found by experiment, and the entertainment should be 
 arranged accordingly. ''A little and good" is better than 
 "a lot and bad." 
 
 As regards the light — this should be as evenly distri- 
 buted as possible, always taking care that there are no lights 
 or mirrors at the rear of the stage, as these would reflect 
 to the spectators many things of the existence of which 
 it is most desirable they should know nothing. 
 
 A word or two as to nervousness may not be out of place. 
 If the performer can bring himself to imagine, for the 
 time being, at any rate, that he is the most wonderful in- 
 dividual in creation, his success is assured ; that is, if every- 
 thing has been rehearsed in private, and he knows his part 
 thoroughly. A dull, nervous, or morose performer, how- 
 ever clever he may be, is sure to make the spectators feel 
 uncomfortable, and thus spoil their enjoyment ; therefore 
 always endeavour to cultivate a cheerful manner, even 
 under difficulties, and you will find your audience similarly 
 affected. Apart from taking every advantage for repartee 
 (always avoid being personal), and every possible opportu- 
 nity for increasing the effect of a trick, the performer should 
 be totally obHvious of all his surroundings an think only of 
 himself and what he is doing. Once this is acquired, ner- 
 vousness will be for ever dispelled. 
 
 Not a little benefit may be derived from attending enter- 
 tainments given by other conjurers, and every opportunity 
 of so doing should be taken. In this way, by listening 
 attentively to the remarks of other auditors, you wiU gain 
 many points, not only as to how a trick may be improved, 
 but also as to what movements in the execution of the 
 same are unnecessary or awkward, and consequently to 
 be avoided. Under these circumstances you will be able 
 to realise the full force of Burns' s well-known words, ''to 
 see oursels as others see us," 
 
118 CONJUBING FOE AMATEUES. 
 
 Always endeavour to speak well of the efforts of a 
 brother magician, however unskilful or crude his per- 
 formance may be. If you cannot conscientiously do this 
 it is better to say nothing at all. The "lesser lights" of 
 the conjuring world help to build up the reputation of the 
 highest ; without the humble exponent there would be no 
 chance of making comparisons. 
 
 With these few words of advice and encouragement, 
 this book on magic is brought to a close. My labours are 
 rewarded by indulgence in the pleasing hope that my 
 readers will be able to benefit themselves and gratify others 
 through the medium of the information I have endeavoured 
 to impart. 
 
INDEX. 
 
 Acid tubes, preparation of, 82 
 Ammunition, conjurer's, 82 
 Anti-spiritualistic tricks, 70 
 Apple and cord, 91 
 Artful conjurer, an, 16 
 Articles produced from hat, 60 
 from tambourine, 92 
 
 B. 
 
 Baby-linen produced from hat, 60 
 Bag for counters, 78 
 
 for watch trick, 106 
 Ball and tube, 86 
 
 Dissolving, 56 
 
 Fancy sleight with, 56 
 
 for vanishing handkerchief, 34 
 
 Handkerchief, 55 
 
 Handkerchief, and tumbler, 58 
 
 Hollow, 54 
 
 Revolving, 47 
 
 Vanished in tumbler of water, 
 66 
 Balls and basins, 51 
 
 Annihilation of, 50 
 
 Chameleon, 52 
 
 Colour- changing, 62 
 
 Creation of, 46 
 
 Diminishing, 54 
 
 Balls, manipulation of, 47 
 
 Multiplication of, 49 
 
 Palming, 46 
 
 Red and black, changing, 57 
 
 Tricks with, 46 
 Barber's pole produced from hat, 
 
 61 
 Basins and balls, 51 
 Billiard balls, tricks with, 46. 
 
 See Ball and Balls 
 Bird and cage produced from hat 
 
 or taml^urine, 62, 93 
 Body, passing coin through the, 
 
 18 
 Bottles produced from hat, 62 
 Bowl of fish produced from hat, 61 
 Boxes produced from hat, 60 
 
 Rabbit, and watch, 105 
 Bran and dove plates, 93 
 Breakfast, wizard's, 97 
 Bubblep, exploding, 84 
 
 0. 
 
 Cabinet, handkerchief, 83 
 
 Cage produced from hat or tam- 
 bourine, 60, 93 
 
 Calculator, spirit, 71 
 
 Canaiy produced from hat or 
 tambourine, 62, 93 
 
 Candle and coin, 16 
 
120 
 
 INDEX. 
 
 Candle and finger palm, 11 
 
 and handkerchief, 29 
 
 Passing coin through, 11 
 Cannon-ball produced from hat, 
 
 61 
 Card mutilated and restored, 72 
 Cards produced from hat, 61 
 Chameleon balls, 52 
 Change-over palm, 46 
 Chemical tricks, 81, 96 
 Chickens produced from hat, 68 
 Chinese fan, 108 
 Climbing ring, 70 
 Coffee and paper cuttings, 97 
 Coin and candle, 16 
 
 and lemons, 19 
 
 and programme, 25 
 
 Changing, 13, 21 
 
 Fold, a new, 15 
 
 Found in envelopes, 25 
 
 Hooked, 19 
 
 Invisible flight of, 17 
 
 Magical production of, 14 
 
 Passed into a matchbox, 21 
 
 Passed through the body, 18 
 
 Passed through a candle, 11 
 
 Pocket vanish for, 20 
 
 Swallowing, 18 
 
 Transferred from tumbler to 
 ball of wool, 24 
 
 Vanish for duplicate, 17 
 
 Wandering, 14 
 
 Wine-glass, and paper cone, 22 
 Coins, hat, and plate, 22 
 
 Palming, 8 
 
 Tricks with, 14 
 
 Vanishing, in sheet of flame, 25 
 Collar, arrangement of, 4 
 Colour-changmg balls, 62 
 
 Handkerchiefs, 37 
 
 Liquids, 96 
 Communication, mysterious, 76 
 Conj'urer, an artful, 16 
 Conjurer's breakfast, 97 
 Cord and apple, 91 
 Costume, 3 
 Counters, bag for, 78 
 Crystal water mystery, 96 
 Cup and saucer, prepared, 99 
 
 Cut, restored, 91 
 
 Cylinder, water retained in, 100 
 
 D. 
 
 Dictionary trick, 77 
 Doll produced from hat, 62 
 Dove and bran plates, 93 
 Dress, the, 3 
 
 E. 
 
 Eggs produced from hat, 68 
 
 Encores, 1 
 
 Envelopes, coin found in packet 
 
 of three, 25 
 Exploding bubbles, 84 
 
 Fantastic fan, 108 
 
 Feeding-bottle produced from 
 hat, 60 
 
 Finger, false, 33 
 Palm, 10 
 
 Fire-eating, 83 
 
 Fire flash, 81 
 
 Firing handkerchief into gentle- 
 man's hair, 31 
 
 Flash handkerchiefs, 81 
 Paper, 81 
 
 Flight of coin, invisible, 17 
 
 Florin v. sixpence, 21 
 
 Flowers, spring, produced from 
 hat or tambourine, 60, 92 
 
 Folding paper, 108 
 
 Forcing an object by ambiguous 
 questioning, 19 
 
 Garter trick, 85 
 
 Glass, watch, and handkerchief, 
 103 
 Writing on, 76 
 
INDEX. 
 
 121 
 
 Goldfish, bowl of, produced from 
 hat, 61 
 
 H. 
 
 Handkerchief and candle, 29 
 
 BaU, 55 
 
 Ball, and tumbler, 58 
 
 Cabinet, 33 
 
 Fired into gentleman's hair, 31 
 
 Fitted with brass tube, 38 
 
 Flying, 42 
 
 Mechanical pull for vanishing, 
 41 
 
 Passed into spectator's pocket, 
 30 
 
 Peregrinations of a, 29 
 
 Produced from collar, 30 
 
 Snake-like, 75 
 
 Spirit, 75 
 
 Tube for producing and vanish- 
 ing, 43 
 
 Vanisher, 34, 43 
 
 Vanishing, 30, 41, 43 
 
 Watch and glass, 103 
 Handkerchiefs, colour-changing, 
 73 
 
 Flash, 81 
 
 Magical production of, 35 
 
 Tricks with, 29 
 
 Vanishing six, and producing 
 them from a borrowed hand- 
 kerchief, 37 
 Hat, articles produced from, 60 
 
 Chickens produced from, 68 
 
 Coins, and plate, 22 
 
 Eggs produced from, 68 
 
 Incubator, 68 
 
 Loading, 60, 63 
 
 Magnetised, 64 
 
 Substitute for, 91 
 
 Tricks, 60 
 Hats and glass of stout, 94 
 Hydrostatic tube, 99 
 
 Tumbler, 102 
 
 Incubator, hat, 68 
 Ink, sympathetic, 72 
 
 Lemons and coin, 19 
 Light on the stage, 117 
 Liquids, colour-changing, 96 
 Loading hat, 60, 63 
 
 Tambourine, 92 
 Long-distance second sight, 78 
 
 M. 
 
 Magnetised hat, 64 
 Matchbox, passing coin into, 21 
 Mathieu, le papier de P^re, 116 
 Miscellaneous tricks, 81 
 Multiplying wand, the, 90 
 
 N. 
 
 Name, mysterious, 70 
 Nervousness, 117 
 
 Palming, 8 
 
 BaUs, 46 
 
 Coins, 8 
 
 Thimble, 88 
 Paper bag for watch trick, 106 
 
 Cone and thimbles, 89 
 
 Cone, coin, and wine-glass, 22 
 
 Cuttings and coffee, 97 
 
 Folding, 108 
 
 Ribbon produced from tam- 
 bourine, 92 
 Patter, 2, 116 
 Pea and walnut shells, 84 
 Pipes, smoke from empty, 83 
 Pistol, conjurer's, 31 
 
 Loading, 82 
 Plate, coins, and hat, 22 
 Plates, bran and dove, 93 
 Pochettes, 3 
 Pockets, 3 
 Pocket vanish, 20 
 Postal trick, new, 72 
 Profondes, 3 
 
122 
 
 INDEX. 
 
 Programme and coin, 25 
 
 Arranging, 116 
 Pull, mechanical, for vanishing 
 handkerchief, 41 
 
 R. 
 
 Rabhit and watch, 105 
 
 Produced from hat or tam- 
 bourine, 62, 92 
 
 Watch, and boxes, 105 
 Restored cut, 91 
 Reverse pabn, 12 
 Ribbon produced from hat, 60, 61 
 Ring, climbing, 70 
 " Ringing " a coin, 13 
 Rouge et noh-, 57 
 
 S. 
 
 Sausages produced from hat, 
 
 60 
 Second sight, long-distanc«, 78 
 Servantes, 5 
 Sixpence v. florin, 21 
 Skull rising from hat, 62 
 Slate tricks, 73 
 
 with vulcanite flap, 74 
 Sleight of hand, principles of, 8 
 Smoke from empty pipes and 
 
 tumbler, 83 
 Soap-bubbles, exploding, 84 
 Speeches, opening and closing, 2 
 Spirit calculator, 71 
 
 Handkerchief, 75 
 Spiritualistic (sham) tricks, 70 
 Stout and water, changing, 96 
 
 Wandering, 94 
 Swallowing coin, 18 
 Sympathetic ink, 72 
 
 Table, the, 4 
 
 Tambourine, mysterious, 91 
 Tape, folded, 85 
 Thimble, palming, 88 
 
 Rigging, 85 
 
 Ubiquitous, 87 
 
 Thimbles and paper cone, 89 
 Tourniquet, le, 10 
 Transferring small objects from 
 
 hand to hand, 9 
 Trouble wit, 108 
 Tube and ball, 86 
 
 for producing and vanishing \ 
 handkerchiefs, 43 
 
 Hydrostatic, 99 
 Tubes, acid, 82 
 
 Tumbler, ball, and handkerchief, 
 58 
 
 BaU dissolved in, 56 
 
 Hydrostatic, 102 
 
 Smoke from empty, 83 
 
 Water retained in inverted, 102 
 Tumblers produced from hat, 62 
 
 U. 
 
 Ubiquitous thimble, 87 
 
 W. 
 
 Walnut shells and pea, 84 
 Wand, the, 6 
 
 Multiplying, 90 
 Wandering coin, 14 
 
 Stout, 94 
 Watch, glass, and handkerchief, 
 103 
 Transferred- from paper bag to 
 boxes tied round rabbit's 
 neck, 105 
 Water changed to stout, 96 
 Mystery, 96 
 
 Retained in cylinder and 
 inverted tmnbler, 99, 102 
 Wine-glass, coin, and paper 
 
 cone, 22 
 Wizard's breakfast, 97 
 Wood, bundle of, produced from 
 
 hat, 60 
 Wool ball, transferring coin from 
 
 tumbler to, 24 
 Writing name on card, 70 
 Sham spiritualistic, 73 
 
 4P 
 
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