MISCELLANEOUS TRICKS.
The “Magician’s Omelette.”
The magician has never proved himself an adept at the art of
cooking, from an epicure’s standpoint; yet the ease with which he
can bake cakes in borrowed hats and cook omelettes in empty pans
has long been a source of wonder to the economical housewife, as
well as to the professional cook.
To see the magician hold a small, shallow, empty pan over the
blaze of a spirit lamp for a few moments, when an omelette, done
to a turn, appears in the pan and is cut up and distributed to the
audience, one is almost convinced that at least one person has
solved that most perplexing of all problems--how to live without
work.
But has he solved it? No! my friend, no more than you or I. He has
merely deceived you; but most cleverly, you must admit.
The pan is without any preparation whatever; but as much cannot be
said of the wand, which he is continually stirring around in the
pan. This wand is hollow, with an opening at one end only; and in
the wand, previous to the trick, of course, are placed the properly
seasoned ingredients of an omelette, after which the end is closed
with a metal plug that is turned and enameled to correspond with
the opposite end of the wand.
When the pan is being examined the performer is holding the wand
in his hand, and such an innocent-appearing black stick is never
suspected of being in any way connected with the trick.
Just before holding the pan over the lamp the performer finds it a
most easy matter to remove the plug from the end of the wand, when,
by holding the wand by the closed end, he can empty the contents
into the pan in the mere act of passing the open end of the wand
around the inside of the pan. (Fig. 45.)
[Illustration: Fig. 45.--The “Magician’s Omelette.”]
The metal of which the pan is made being thin, and there not being
a great quantity of the omelette, assisted by a large flame from
the lamp, it only requires a few moments to cook the omelette, when
it is turned out on a plate and carried down to the audience.
It is hardly necessary to say that when the cooked omelette is
carried down, the wand is left on the stand, which prevents any
inquisitive person asking to see it.
Spinning and Balancing Tricks.
The spinning handkerchief is a great favorite with jugglers. A
handkerchief is borrowed, thrown in the air and caught on the end
of a whirling stick held by the juggler, when the handkerchief
spreads out to its full size and commences to spin around rapidly.
The secret is that in the end of the stick a needle is inserted
about one-quarter of an inch, leaving the sharp end out. When the
handkerchief is caught on the end of the whirling stick the needle
point passes through it, thus preventing its falling off the stick,
which is rapidly whirled around, and the handkerchief will spread
out and spin about on the end of the stick.
[Illustration: Fig. 46.--The Spinning Handkerchief.]
Jugglers are very partial to tricks performed with eggs, and
spinning an egg on its smaller end is a trick they are almost sure
to perform. It is impossible to spin a raw egg; so our juggler
uses a hard-boiled one, and spins it on its small end in a shallow
japanned tray. If the tray is kept gently moving in a small circle
in the opposite direction to that in which the egg is spinning, the
latter will continue to spin as long as desired. (Fig. 47.)
[Illustration: Fig. 47.--Spinning an Egg.]
The egg spinning trick is usually followed by a balancing trick in
which a playing card is balanced upon a small wand, and an egg is
then balanced on a corner of the card. This trick usually calls
forth a great pretension of skill on the part of the performer,
when, in reality, no skill whatever is required.
[Illustration: Fig. 48.--Balancing Card and Egg on Wand.]
The wand is of ebony, or some dark wood, and about three inches
from one end is a small hole. The egg is made of wood, painted
white, and with a small hole in one end. The card is composed of
two cards glued together, with a fine steel wire between them,
running diagonally from corner to corner of the card, with the ends
of the wire projecting about a quarter of an inch. The prepared egg
is on a plate with several ordinary eggs, and the card is placed
on a pack of common cards. The wand is held in one hand, the card
taken in the other and apparently balanced on one corner on the
wand; but in reality the wire point is placed in the hole in the
wand. Now the assistant passes the prepared egg to the juggler, who
carefully balances it upon the corner of the card; that is, slips
the hole in the end of the egg over the wire point projecting from
the card.
A fitting finale to such a juggling act is that in which a potato
is placed on the hand of the assistant and cut in two with a sharp
sword, without leaving any mark upon the skin. As a general thing,
a second potato is then cut upon the throat of the assistant. This
apparently marvelous mastery of the sword always brings forth great
applause.
[Illustration: Fig. 49.--Cutting a Potato on the Hand.]
Among the several medium-sized sound potatoes on a tray are placed
two potatoes prepared as follows: Insert a needle crosswise of
the potato near the bottom. After showing the sword to be really
sharp, by cutting paper and slicing one or two of the potatoes, the
performer picks up one of the prepared potatoes and places it on
the assistant’s hand; but apparently it does not lie to suit him,
so he slices off one side of it, using care to cut away the side
just under the needle and as close to it as possible, then places
the potato once again on the assistant’s hand. After making a few
flourishes with the sword, he cuts through the potato, dividing it
in half. (Fig. 49.)
In striking the potato with the sword he makes sure that the sword
will come exactly crosswise on the needle; consequently, when the
sword reaches the needle it can go no farther, and the brittle
nature of the potato will cause it to fall apart, the very thin
portion below the needle offering no resistance to the separation.
The second potato is then cut in the same manner on the assistant’s
neck. There are many other false juggling tricks, but the above
will suffice to show that “there are tricks in all trades but
yours.”
The Blindfolded Juggler.
While watching the clever manner in which a good juggler passes
various articles from hand to hand, how many people ever give a
thought to the many hours of practice devoted to even the simplest
trick that he performs? To become even a passable juggler, many
weary months of constant practice are necessary. There are tricks
in all trades, and some of the most successful entertainers in
this line can scarcely do a half dozen genuine feats of juggling,
yet they are great favorites with the public. It has been truly
said that “the tricks that require the most practice are the least
appreciated by the average spectator.” It is our intention merely
to show how a simple trick has won fame for several well-known
jugglers.
This is the trick of juggling blindfolded. An assistant tightly
binds a heavy handkerchief over the juggler’s eyes, and then,
to make sure that he cannot see, there is placed over his head
and shoulders a sort of bag, made of heavy goods, which should
exclude all light, even if his eyes were not tightly bound with the
handkerchief. Regardless of this, the juggler performs the usual
passes with balls and knives. Yet, when the bag is removed, the
bandage over his eyes is found undisturbed. (Fig. 50.)
[Illustration: Fig. 50.--The Blindfolded Juggler.]
[Illustration: Fig. 51.--The Illusion Explained.]
The explanation is simple. The bag is made of the usual coarse
bagging, and a few threads are pulled out of the part that will
come in front of the juggler’s face when the bag is over his head,
thus allowing him to see between the remaining threads as though
looking through a coarse screen. (Fig. 51.)
When the bag is being placed over his head, and during the seeming
effort of passing the arms through the armholes in the bag, the
performer or assistant has no trouble in pushing the handkerchief
up from the eyes to the forehead, thus allowing him to see through
the open work of the bag. In removing the bag after the act, there
is no trouble in pulling the handkerchief down over the eyes.
The Chinese Rods and Cords.
Nothing excites curiosity in the public mind more than a simple and
clever puzzle, and the “Fifteen Puzzle” and “Pigs in Clover” have
given enjoyment to hundreds of thousands. The Chinese rods and
cords, which forms the subject of our engravings, is in the line of
ingenious inventions, and is really more in the nature of a trick
than a toy. (Fig. 52.)
[Illustration: Fig. 52.--Chinese Rods and Cords.]
[Illustration: Fig. 53.--The Illusion Explained.]
It is of Chinese origin, and the example shown in our engraving was
purchased in Chinatown, San Francisco, Cal. The puzzle consists
of eight pieces of bamboo or hollow ivory tubes, each containing
seven holes spaced equidistantly. Through these holes are seen to
pass seven silken cords, each with a bead at the top and a tassel
at the bottom. The toy is held by the loop at the top, which serves
to hold the upper rod. When it is first picked up, its condition is
shown in our first engraving at the left. There are seven of the
rods at the top and one at the bottom. Now the lower bar of the
upper set is moved down to the bar at the bottom; the two lower
bars will appear to be supported by three cords at the center,
as shown in our engraving, four of the cords having vanished. If
the next bar is brought down, another change is observed, only
the two outer cords being seen. This is shown to the right of our
engraving. If the next bar is brought down, the end cords have
approached the center, and five of the seven cords have vanished.
The next rod brought down brings five cords into view, the two end
ones and the center one being visible. When the next bar is pulled
down, the center and the outer cords only remain; so that, if all
the bars between the top and bottom bars are brought together, the
seven cords appear to pass entirely through them. Fig. 53 gives a
clew to the mystery. The rods are all hollow, and each contains
seven holes; and our engraving shows the course of the silk cords.
It will be noticed that where a number of cords pass through a
single hole, the strand which is formed is much thicker than are
the single cords; as they are of different colors, the effect
is most pleasing. It will be observed that the strings go clear
through the top bar; but in the next bar, although they enter the
seven holes at the top, they emerge from three holes at the bottom,
three of the strands going through the center hole and two through
each of the end holes, and so on throughout the entire number of
bars, the strings changing their course, as is clearly shown in our
engraving, thus causing the increase and decrease in their number.
The “Surprise” Pen.
Our engraving shows a very clever trick pen which would tend to
create great surprise among the uninitiated. Let us suppose that
a gentleman is seated at his desk and is busily writing when a
neighbor comes in, and he jokingly challenges the latter to try
and forge his signature. He hands the pen to his friend, who
attempts to write. Immediately there is an explosion, and the paper
receives a big ink blot. The writer is apt to be surprised by the
report, which is like a pistol shot, and, if a timid person, is
apt to be frightened. The noise comes from the pen itself, as it
is so constructed that it can be loaded and shot off at will. The
person in the secret can handle the pen with safety, but the poor
unfortunate will experience a rather unexpected shock to his nerves
when he attempts to write with it.
[Illustration: Fig. 54.--The “Surprise” Pen.]
The upper part of the penholder, into which an ordinary writing pen
is thrust, works on a pivot about half way down its length. This
separate part is provided with only one-half a bottom, in order
that it may engage the conical head of a piston rod, which ends
in a plunger, which sets off the cap secured in the bottom of the
penholder. The normal position of the plunger is against the cap
of the holder; but it can be raised by means of a projecting pin
riveted to the rod and passing through a slot cut in the side of
the lower part of the holder. Now, the closed half of the bottom of
the pivoted end enters a notch caused by the conical head of the
plunger; and the plunger, with its spring, is cocked, as it were,
by means of the projecting pin, and is held in place by the bottom
of the pivoted section. When the pen is pressed to the paper the
pivoted section swings on the pivot, releasing the plunger, which
is forced down on the explosive cap by the spring.
The lower end of the penholder is threaded, so that it can secure
the end cap firmly in place. The explosive cap is put in the end
cap, and it is screwed on the bottom of the holder. Ordinary paper
caps for children’s pistols are used. As long as the plunger simply
rests on the cap there is no danger of an explosion; but, just
before the joker wishes to give his friend a scare, he cocks it by
pushing the plunger up with the pin, until the pivoted top engages
it.
The “Miraculous Wineglasses.”
As a rule, magicians are very generous fellows, always ready to
give their audiences something, such as coins and handkerchiefs,
but, just when one thinks they have the gift safely in their grasp,
it mysteriously vanishes. However, there are a few exceptions to
this rule, one of whom is a very popular English performer.
[Illustration: Fig. 55.--The “Miraculous Wineglass.”]
[Illustration: Fig. 56.--The Glass Covered with Rubber.]
This magician goes among the audience and borrows a gentleman’s
handkerchief, and immediately produces from it a glass filled
with sherry. This he offers to the ladies, then, shaking the
handkerchief, he produces a second glass full of port for the
gentlemen, next one of ginger beer for the younger members, and
one of milk for the very young, but there being present one or two
teetotalers, he next produces a glass of water, and lastly a glass
of stout for himself. All of these are pronounced by the audience
to be excellent.
The glasses are of the small stem wineglass pattern. On both sides
of the magician’s coat, inside, of course, are large pockets,
and in each pocket is placed in a prearranged form three of the
glasses. To prevent a possible spilling of their contents (and, as
each glass is filled to the brim, this would be very difficult),
there is fastened over the mouth of each glass a thin soft rubber
cap or cover, as shown in the small engraving.
To produce the glass, the performer spreads the borrowed
handkerchief, which should be a large one, over his breast in
such a manner that one hand is concealed under it; and with this
hand he reaches in the pocket and brings forth the proper glass,
removing the rubber cover and leaving it in the pocket. This move
is repeated until all the glasses have been brought out. After
producing three of the glasses with, say, the left hand, he must
spread the handkerchief so as to cover the right hand, leaving the
left one free to manipulate the handkerchief, as it would be most
awkward to try and produce the glasses from both sides of the coat
with the same hand.
[Illustration: Fig. 57.--The Miraculous Wine Bottle.]
This trick is a most effective one, as the spectators cannot
understand how it would be possible for the performer to conceal a
glass filled to the brim, as these are, about his person.
After distributing the glasses, and offering an apology for his
inability to treat all present, he pretends to overhear a remark
that his audience is not satisfied, and that many think they have
been slighted. He states that he will endeavor to comply with the
demands of his thirsty audience, and retires to fetch a bottle.
Off the stage he removes his coat and places under his right arm a
rubber bag filled with wine. To the bag is attached a rubber pipe
with a small metal point, which pipe he holds next to his right arm
and replaces his coat, leaving the metal end just within the cuff.
[Illustration: Fig. 58.--The Miraculous Wine Bottle.]
The bottle has a small hole in the side, near the bottom, of such
a size as to fit the metal point on the rubber pipe. In rinsing
the bottle the performer keeps one finger over the hole, thus
preventing the audience discovering that the bottle differs from an
ordinary one. In rinsing the bottle the outside has become wet, and
in drying it with a cloth the performer places the metal point on
the rubber pipe in the hole in the side of the bottle, thus making
connections with the bag of wine. By holding the bottle well down
toward the neck, and close to his wrist, he can venture among the
audience without fear of detection.
By pressing the right arm against his side the bag is compressed,
forcing the wine through the pipe into the bottle.
The glasses are of special make and of very thick glass, making
quite a bulky appearance, but of very limited capacity. An
assistant carries a tray containing one hundred of the glasses.
The “Mysterious Vase.”
Tricks performed with ink and water have always been favorites with
magicians, and they have devised means of keeping this trick fully
abreast of the times, thus retaining its popularity. The manner
of performing the latest ink trick involves such novel principles
as to puzzle even those who are well posted on modern magic. The
“Mysterious Vase” has been presented by but few prestidigitateurs,
and the secret so well guarded that comparatively few people know
how it is done. (Fig. 59.)
[Illustration: Fig. 59.--The “Mysterious Vase.”]
The attention of the audience is called to a glass vase that is
filled with water which is resting on a light stand. This vase
resembles a large octagon celery glass. In the vase there are a
few cut flowers, which the performer removes as he calls attention
to the vase and the clear water it contains. The flowers are given
to the ladies in the audience, as they have no further connection
with the trick.
A lady’s handkerchief is borrowed and the vase covered with it
for a moment. On removing the handkerchief, the water that was
seen in the vase appears to have changed to ink. While this rapid
transformation is very startling, yet the most marvelous part of
the trick is to come. The magician bares his forearm, that the
audience may see that his sleeves have no connection with the
trick, and then proceeds to remove from the ink in the vase six
silk handkerchiefs and two lighted candles, each article being
perfectly dry.
[Illustration: Fig. 60.--The Illusion Explained.]
The means by which this seeming impossibility is performed are as
simple as the trick is mysterious, as the following will show. In
the center of the vase, reaching from side to side and from the
bottom to within a half inch of the top, is a piece of polished
mirror. The side edges of the mirror rest in the angles of the
vase, and as the vase is only seen from the front, the edges are
not seen. The front half of the vase being reflected in the mirror
leaves the impression that one is looking directly through the
vase, when in reality you only see one-half of the inside. (Fig.
60.)
To the back of this mirror is attached a watertight tin box, in
which are placed six small silk handkerchiefs and two candles. The
exterior of the box and back of the mirror are painted a dead black
color. Enough water is poured into the vase to reach the top edge
of the mirror. In the water is dissolved a small portion of iron
protosulphate. A few cut flowers are placed in the vase, which is
then placed on the stand with the mirror side to the audience, and
the candles lighted.
After the flowers are removed and a handkerchief borrowed, the
magician secures possession of and palms between his fingers a
small lozenge made of pyrogallic acid, which he drops in the water
in front of the mirror in the act of covering the vase with the
handkerchief. In a very few moments the lozenge dissolves, and the
pyrogallic acid of which it is composed causes the water, which
holds in solution the iron protosulphate, to change to a good black
ink.
On removing the handkerchief with which the vase was covered, ink
is seen to have taken the place of the water, and from the center
of the vase the performer removes the silk handkerchiefs and
candles.
Our first engraving shows the vase of water on the stand; the
second shows the vase after the water has changed to ink, with
the magician removing one of the silk handkerchiefs. The third
illustration represents the vase with one side broken away, showing
attached to the back of the mirror the tin receptacle that contains
the handkerchiefs and candles.
The “Mermaid’s Head.”
M. Alber, the prestidigitateur, describes in _La Nature_ a variant
of a trick which, although old in principle, has recently been
brought out in a new and attractive form.
Upon a light tripod placed in an alcove or recess hung with some
sort of a red fabric, such as cotton velvet, stands an aquarium in
which gold fish are observed swimming about, and in the center of
which is seen a living female head that moves, smiles, and seems to
be absolutely at its ease, although deprived of a body and immersed
in water. A reference to the figure will show how the apparatus is
arranged.
The tripod consists of three gilded copper rods fixed at the
bottom to a triangular platform and supporting at the top another
platform of nickel-plated metal. At their point of union the three
rods, which are firmly brazed to each other, seem to be united by
a simple ribbon tied with a bow knot.
[Illustration: Fig. 61.--The “Mermaid’s Head.”]
From the base to the ribbon there is an empty space, but above
the latter there are fixed between the rods three triangular
glass mirrors backed with thin and resistant steel plate. The
nickel-plated top is movable. Previous to the entrance of the
spectators, the woman whose head is to appear, places herself
between the mirrors, crosses her legs and rests upon her heels.
It is impossible for the apparatus to topple over, since it is
firmly screwed to the floor. The nickel-plated top, which is in two
pieces, embraces the neck so closely, when put in place, that the
joint can scarcely be seen at a short distance. Since the mirrors
reflect the floor, which is covered like the walls, it seems as if
it were the back of the alcove that is visible between the rods at
the upper part; and the entire apparatus appears to be absolutely
open.
As for the aquarium trick, that is simple. The aquarium is an
adaptation of one that has long been found in the market, and in
which are perceived birds that seem to be flying about in the water
amid fishes.
The crystal glass aquarium, which is manufactured especially for
the purpose, consists of two receptacles. The central one of these
is open at the bottom to receive the head, while the outer one is
open at the top and contains the water and fishes. As the glass
is exceedingly transparent, it is almost impossible to detect the
empty space in the center.
The aquarium is placed upon four small nickel-plated supports that
permit of the introduction of air into the internal receptacle. The
position of the decapitated woman is an exceedingly cramped one,
and it is therefore necessary for her to make her exit from the
tripod between each exhibition in order to take a well-earned rest.
“Card Cricket.”
One of the most effective and pretty tricks performed by the
celebrated English magician Mr. Devant is known as “Card Cricket.”
In this trick the performer shows his hands empty, and takes a
pack of cards and requests three ladies to take one card each, and
to remember what the cards are. The cards are then replaced in
the pack, which is well shuffled and cut by one of the audience.
The performer then passes for inspection an ordinary cricket bat,
which, on its return, he places on a table in full sight of all.
He then asks if any one in the audience can bowl, and requests the
gentleman who can, to come and have a game of cricket.
The performer now asks the gentleman to take the pack of cards and
bowl at him, and he will be the player or one at the wicket. The
performer picks up the bat and says “Play.” The cards are bowled at
him, and he hits the pack with the bat as the cards are in the air,
and, to the astonishment of the audience, the chosen cards are seen
sticking to the bat. This very pretty card trick is quite simple to
work.
[Illustration: Fig. 62.--“Card Cricket.”]
In selecting the cards the ladies were under the impression that
they exercised their own free will, but such was not the case. The
pack of cards was what is known to magicians as a forcing pack,
that is, consisting of only three cards, which, for convenience
sake, we will say are the ace of clubs, five of hearts, and nine
of spades, one-third of the pack being composed of only one of
these cards. The pack being thus made up, it is very easy for a
skillful performer to present to the first lady the portion of the
pack containing only ace of clubs, to the second lady the part
consisting solely of five of hearts, and to the third lady the part
that contains only nine of spades. By using such a forcing pack
the performer is sure to have the proper cards selected. While the
ladies are examining their cards the performer steps to his table
on some pretense and slyly changes the forcing pack for an ordinary
one consisting of the usual cards, with the exception of the five
of hearts, ace of clubs, and nine of spades. This pack he hands to
some member of the audience and requests them to have replaced the
selected cards and shuffled.
[Illustration: Fig. 63.--“Card Cricket.”]
The cricket bat is an ordinary one, which, after being examined
by the audience, is laid on a table until the performer finds a
gentleman who will bowl the pack at him.
In this simple act of laying the bat on the table we find the
principal secret of the trick.
Previous to beginning the performance the magician has placed face
down on the table, in a line with each other, an ace of clubs, five
of hearts, and nine of spades. The back of each of these cards
is lined with cloth similar to the covering of the table, thus
preventing any one noticing the cards when placed face down on the
table. On the cloth covering of each of the cards is smeared a dab
of soft adhesive wax. In placing the bat on the table, care is
taken to lay it directly over the three cards, the wax on the backs
adhering tightly to the bat.
After the gentleman who has consented to bowl the pack of cards at
the performer is in place, the performer picks up the bat, steps
back a few feet, and says “Play.” The instant the flying cards
touch the bat the performer turns it over, bringing into view the
side of the bat to which the three cards are sticking, which appear
to have been caught on the bat from the flying cards.
Until the pack of cards are thrown against the bat, the magician
exercises the greatest care not to turn the side of the bat to
which the cards are sticking toward the spectators. Properly
presented, this trick has proved most illusive.
“Cupid Lighter than a Butterfly.”
The pleasing trick which forms the subject of our engravings owes
its success to the ingenious application of mechanical principles.
The magician presents for inspection to the audience a large pair
of balance scales. The audience is allowed to examine the various
parts of the balance before it is erected on the stage. It consists
of a central column and a beam resting on a knife-edge, and two
pans suspended by cords or chains. After the column has been put
in position, the beam is put on and a pin inserted, thus making a
center for the beam to work on. A gentleman is asked to stand in
one of the scale pans, and then weights are gradually placed in the
other pan until his exact weight is ascertained. The weights are
removed, and the gentleman steps down off the stage. The audience
is now convinced that the scale is to all intents and purposes
like the ordinary balance which is so much used in groceries for
weighing tea, coffee, etc., although, of course, in the present
instance, it is built on a mammoth scale.
[Illustration: Fig. 64.--“Cupid Lighter than a Butterfly.”]
The magician now goes on to say that he will prove the old
assertion that “love is lighter than a butterfly” to be absolutely
true. He introduces a little boy dressed as Cupid, with wings and a
bow and a quiver of arrows. When the child steps on the scale pan,
it immediately sinks to the floor by his weight. The conjurer now
takes a butterfly, and, asking all to direct their attention to the
scale, drops it on the opposite pan, which immediately descends to
the floor, at the same time raising the pan with the Cupid high in
the air. If he takes the butterfly off, the Cupid descends, and
every time the prestidigitateur replaces the butterfly, Cupid is
raised off the floor.
[Illustration: Fig. 65.--The Illusion Explained.]
The trick depends for success upon a carefully devised and
concealed mechanism. The balance beam is devoid of any preparation,
but the mechanism is cleverly concealed in the column, and motion
is imparted to the beam by means of a shaft and bevel gears. The
hole in the beam is not perfectly round; it is slightly oval, but
not enough so to be easily seen by a casual glance. The pin is
also oval, instead of round, and it is made to fit tightly. It
will be seen that, when this pin is rocked or tilted, the beam
is moved, carrying one scale pan up and the other down. The top
of the column is of considerable size, and one side of it is cut
away to admit of a bevel gear, which also has an oval hole the
same as the beam. When the balance is put together and the beam is
placed in position, the oval pin passes through the bevel gear and
the beam, forming a horizontal shaft. This vertical wheel meshes
with a horizontal gear wheel, which is also secured in the head
of the pedestal. A shaft runs through it to the space below the
floor, where it terminates in a lever secured at right angles.
The magician’s assistant, under the stage, grasps the lever, and,
pulling it back and forth, transmits a seesaw motion to the beam
through the medium of the shaft, the two bevel gears, and the oval
pin.
The trick depends very largely for success upon the apparent
willingness of the prestidigitateur to allow all parts of the
apparatus to be examined, and, as the gear wheels are very cleverly
concealed, there is almost no chance of the trick being discovered.
INDEX.
PAGE
Bags, trick, 98
Balance illusion, 143
Balancing tricks, 117
Bandage test, 86
Blindfolded juggler, 121
Blotter trick, 17
Bottle, miraculous, 130
Cabinet test, 108
Cabinet, the trick, 109
Card balancing, 119
Carpet, slitted, 29
Chair and net test, 108
Chalk, writing on, 60
Chalks, writing with colored, 36
Confederates, 107
Cricket, card, 139
Cuff, leather, 73
Cupid lighter than a butterfly, 143
Davenport tie, 88
Double slate, 32-41
Eddy Brothers, séances, 101
Egg glass, use of, 55
Eggs, spinning, 118
Fay’s séances, 103
Finger, prepared, 19
Flap, false, 21-38
Flap, interrupted, 48
Fly, educated, 62
Folding slate, 33
Hands, holding, 28
Handcuff test, 96
Head, mermaid’s, 136
Hinges, false, 39
Hook for table raising, 74
Inks, sympathetic, 11-17
Interrupted flap, 48
Juggler, blindfolded, 121
Light séances, 101
Loop, double, 92
Magician’s omelette, 115
Magnetic writing, 34
Mind reading and kindred phenomena, 51-71
Mirrors, reading writing by, 47
Miscellaneous slate tests, 41-51
Miscellaneous tricks, 115-146
Omelette, magician’s, 115
Pad, transferring to, 20
Pen, surprise, 125
Pencil carrier, thumb, 52
Pencil, silver nitrate, 44
Pencil thimble, 18
Photography, spirit, 113
Pistol loaded with chalk, 41
Post tests, etc, 93-100
Post test, mechanical, 94
Post test, ordinary, 93
Potato cutting, 120
Raps, spirit, 81
Ring test, 96
Rods and cords, Chinese, 123
Rope test, 82
Séance, spiritualistic, 76
Séances, 101-114
Silica slate, 6
Silk flap, 5
Silver nitrate pencil, 44
Single slate, 3-32
Slade, Dr., 105
Slate, double, 32-41
Slates exchanged, 30
Slate, folding, 33
Slate writing on china, 8
Slates, locked, 36
Slate tests, multiple, 38
Slates, padlocked, 32
Slates, pivot, 26
Slates, riveted, 24
Slates, screwed, 24
Slates, scaled, 34
Slates, sliding, 33
Slates, tied, 22
Slates, transferring, 37
Slates, wedging, 24
Slates with false hinges, 39
Sliding slates, 33
Spinning tricks, 117
Spirit collar, 97
Stencil, wood, 42
Sucker for table lifting, 72
Sympathetic ink writing, 9
Table, false, 10
Table lifting and spirit rapping, 71-82
Table, traps in, 25, 26
Table trick, 47
Telegraph, 77
Telegraph, foot, 66
Telegraph head, 68
Thimble key, 36
Thimble pencil, 18
Thumb pencil carrier, 52
Tie, Davenport, 88
Ties, rope, 85
Ties, spiritualistic, 82-92
Toes, writing with the, 45
Traps, 106
Tube, speaking, 67
Vase, miraculous, 132
Wine glass, miraculous, 128
Wire cage test, 110
Wire, cloth, 61
Writing, reading concealed, 51-58
* * * * *
MAGIC
Stage Illusions and Scientific Diversions, Including Trick
Photography.
BY A. A. HOPKINS.
With an Introduction by H. R. EVANS.
568 pages. 420 illustrations. Price, $2.50 postpaid.
[Illustration: (the book cover)]
This work appeals to old and young alike, and it is one of the most
attractive holiday books of the year. The illusions are illustrated
by the highest class of engravings, and the exposés of the tricks
and spiritualistic phenomena are, in many cases, furnished by the
prestidigitateurs themselves. Conjuring, large stage illusions,
fire-eating, sword-swallowing, ventriloquism, mental magic, ancient
magic, automata, curious toys, stage effects, photographic tricks,
and the projection of moving photographs are all well described and
illustrated, making a handsome volume. It is tastefully printed and
bound.
Acknowledged by the profession to be the
Standard Work on Magic
==> Circular of Contents and sample illustrations with testimonials
from W. E. Robinson, M. Trewey, W. B. Caulk, Harry Rouclere,
Jewett, Clivette, etc., free upon request.
MUNN & CO., Publishers,
SCIENTIFIC AMERICAN OFFICE
361 BROADWAY, NEW YORK CITY.
The Scientific American
This unrivaled publication is now in its fifty-fourth year, and
is acknowledged to be the foremost and most popular scientific
journal published. The excellence and variety of the reading matter
render it one of the most interesting and widely read journals in
the world. Each issue is fully illustrated and no topic of popular
interest germane to science or industry is neglected. The latest
tricks of the greatest modern conjurers are published from time to
time. Those who are not familiar with the
Scientific American
may send for a free sample copy. Subscription price, $3.00 per
annum.
MUNN & CO., Publishers,
Scientific American Office,
361 Broadway, New York City.
[Illustration: (the magazine cover)
THE EDISON MAGNETIC CONCENTRATING WORKS. THE GIANT ROLLS.]
MUNN & CO., Publishers,
361 BROADWAY, NEW YORK.
1898 EDITION
--OF--
Experimental Science
BY GEO. M. HOPKINS.
20th Edition Revised and Enlarged.
914 Pages, 820 Illustrations.
Price $4.00 in cloth; $5.00 in half morocco, postpaid
THE MOST POPULAR SCIENTIFIC BOOK OF THE DAY
[Illustration: (the book cover)]
This is a book full of interest and value for Teachers, Students,
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Send for large Illustrated Circular and complete Table of Contents.
MUNN & CO., Publishers,
OFFICE OF THE
SCIENTIFIC AMERICAN,
361 BROADWAY, NEW YORK.
TRANSCRIBER’S NOTE
Obvious typographical errors and punctuation errors have been
corrected after careful comparison with other occurrences within
the text and consultation of external sources.
Except for those changes noted below, all misspellings in the text,
and inconsistent or archaic usage, have been retained.
Pg 61: ‘are nable to see’ replaced by ‘are unable to see’.
Pg 82: ‘great standbies’ replaced by ‘great standbys’.
Pg 129: ‘handerchief, and’ replaced by ‘handkerchief, and’.
Pg 147; Index entry ‘Post tests’: ‘93-1 0’ replaced by ‘93-100’.
Pg 147; Index entry ‘Slates, padlocked’: ‘3’ replaced by ‘32’.