PART II.--GRAND, OR STAGE MAGIC.

SLEIGHT OF HAND

A Practical Manual of Legerdemain

for Amateurs & Others

EDWIN SACHS

[Illustration]

Dover Publications, Inc.

New York

Published in Canada by General Publishing Company, Ltd.,

30 Lesmill Road, Don Mills, Toronto, Ontario.

This Dover edition, first published in 1980, is an unabridged

republication of the second, greatly enlarged, edition of the

work as published by L. Upcott Gill, London, 1885.

_International Standard Book Number: 0-486-23911-X

Library of Congress Catalog Card Number: 79-54184_

Manufactured in the United States of America

Dover Publications, Inc.

180 Varick Street

New York, N. Y. 10014

CONTENTS.

CHAP. PAGE

INTRODUCTION 1

PART I. DRAWING-ROOM MAGIC. 4

I.--PALMING 5

II.--TRICKS WITH COINS 9

III.--TRICKS WITH COMMON OBJECTS 39

IV.--TRICKS WITH CUPS AND BALLS 54

V.--TRICKS WITH HANDKERCHIEFS 62

VI.--CHINESE TRICKS 70

VII.--TRICKS AT TABLE 77

VIII.--TRICKS WITH CARDS 88

PART II.--GRAND, OR STAGE MAGIC. 149

IX.--GENERAL REMARKS 149

X.--THE TABLE AND DRESS 156

XI.--SLEIGHTS AND PROPERTIES FOR GENERAL USE 163

XII.--TRICKS WITH CARDS 186

XIII.--TRICKS WITH HANDKERCHIEFS AND GLOVES 210

XIV.--TRICKS WITH COINS 232

XV.--MISCELLANEOUS 257

XVI.--THE CORNUCOPIAN HAT 346

XVII.--TRICKS WITH WATCHES AND LIVE STOCK 361

XVIII.--SHAM MESMERISM, CLAIRVOYANCE, &C. 378

XIX.--FINAL INSTRUCTIONS 392

PREFACE TO SECOND EDITION.

It is always a matter for self-congratulation on the part of an author

to be called upon to furnish a Preface to a second or subsequent

edition of some "bantling of his brain." In the present instance the

task is more satisfactory than usual, the author not coming before

the reader empty-handed. Since the publication of the first edition,

conjurors have not been idle, and numerous new methods for producing

magical surprises have been invented. Such of these as are suitable

or worthy--for, in their haste to be novel, many have failed to be

satisfactory--the author has incorporated; and, by a thorough revision

of the work, he has placed before the aspiring conjuror, written up

to date, all that it is possible for him to know in the region of

SLEIGHT OF HAND.

E. S.

LONDON,

_April_, 1885.

SLEIGHT OF HAND

INTRODUCTION.

"It is as pleasant to be cheated as to cheat," is a maxim that must

have been framed expressly for conjuring, for the more completely one

is deceived by its medium (and, be it said, by its medium alone) the

better one is pleased.

The date of the origin of conjuring, as we now understand the art, is

not known, but there must have been proficients in the practice of

it as early as the time of Chaucer; for that ancient writer speaks

of one Coll Tregetour (Tregetour signifying a juggler) producing

a windmill from beneath a walnut shell. There is doubtless some

slight exaggeration in this statement, or else modern wizards are

far behind those of early days--an hypothesis I cannot accept. In

the superstitious lands of the East, jugglery was doubtless at the

bottom of the many manifestations that were mixed up with religion,

and the wily priests made the best (or worst) uses of its influence

on the uncultivated mind. When we consider the effect that is even

now produced on the minds of an enlightened audience by a skilful

manipulator, the wonderment of people who were but half civilised,

and who were taught to believe in spirits, is scarcely a matter for

surprise.

Although superstition has not died out--if, indeed, it ever _will_

die out--there are now very few people who attribute the successes

of a conjuror to any other agency than that of his own skill; always

excepting that of the everlasting "confederate," who, as the reader of

the following pages will discover, exists, in ninety-nine cases out of

a hundred, only in the imagination of the spectator.

Formerly, conjurors appeared clothed in long robes and tall, pointed

hats, both covered with mystic signs and symbols; Robert Houdin, whom

we may consider the father of modern conjuring, being the first to

perform in the now conventional evening dress. This innovation had the

effect of increasing the genuineness of the performance, as it was an

easy matter to conceal large articles beneath a flowing robe, such as

had been previously worn; but the close-fitting dress suit affords no

means of concealment--to the minds of an audience, at any rate. Houdin

was the means of elevating the art in the eyes of the public, besides

investing it with nearly all that it possesses of the graceful; and,

as it has undergone still more improvement since his time, it has

now become a pursuit well worthy the attention of anyone inclined

to follow it up, as much for the amusement of himself as of others.

Besides its power of amusing, conjuring affords an immense amount of

instruction to its student, and is useful in inculcating coolness,

precision, and an endless amount of resource, which will always stand

one in good stead on the world's wide and ever-changing stage.

It is my intention to give, in the following pages, such instruction

as shall enable the merest tyro to become an adept in the art of

Legerdemain, providing that a due degree of attention is given

and a reasonable amount of practice undertaken. Practice, indeed,

is what is required in order to achieve success in any pursuit or

amusement, whatever its nature may be, and without it the best of

instruction is given in vain. For this reason, I must exhort such

of my readers as may seek to amuse their friends through the medium

of what I shall impart to them to devote as much time as they can

spare to practice at the outset, in order that they may acquire a

neat method of manipulation, which is the keystone of success in a

conjuror, and which, once attained, will never leave them. If to this

delicacy of manipulation is added a suavity of manner, accompanied

by a never-failing cool daring, then the perfection of a conjuror is

attained.

Magic may safely be divided into two parts, Drawing-room Magic and

Grand Magic. As it is in the family circle that every amateur conjuror

mostly exhibits his attainments, I shall first treat of drawing-room

magic; indeed, it is absolutely necessary to be a master of that

branch, in order to undertake grand magic successfully. The success of

the conjuror who can perform only on the stage, far removed from all

inquisitorial interference, will be but of short duration. I find it

has been the case with most amateurs, who rarely find opportunities

for performing on a stage, that their greatest successes have been

achieved in the drawing-room.

The very first thing a conjuror must procure is a conjuring-wand--an

implement that is always supposed by the audience to be for show only;

and for such they must always be made to think it is. It is, however,

an absolutely indispensable article, both to beginner and proficient,

as it serves as an auxiliary to the concealment of any article in the

hand, as will be explained hereafter. For the present, all the learner

has to do is to procure a round stick of ebony, about 18in. long,

fitted with ivory, silver, or brass ferrules (not caps) countersunk

at each end, and to trust to me to its being necessary. It is best to

have the wand made to suit the taste, as those sold at conjuring-shops

are invariably too short. Any walking-stick manufacturer will make it.

PART I.

DRAWING-ROOM MAGIC.

This derives its chief beauty from the fact that it is almost entirely

dependent on pure sleight of hand, a fact which audiences are never

slow to appreciate. The most familiar objects are dealt with, and are

made to vanish and re-appear in unexpected places, as though they

really were disembodied and reinstated. The amateur will find, after

a few years' experience, that the impromptu performances he may, from

time to time, be called upon to give in the drawing-rooms of his

acquaintances, will be much more satisfactory to both himself and his

audiences than the more pretentious affairs given upon stages, which

call for a great deal of management, apart from ability, to render

them successes. When once the performer has attained the credit of

being better than the ordinary ruck, it will become incumbent upon him

to keep up the level of skill by means of practice, as wonder must

follow wonder in ever-increasing proportion.

Coins, from being so readily procurable, and from their adaptability,

are deservedly favourite media, and with them I shall first deal. For

all general purposes, a well-conditioned florin will be found the

best coin for the beginner; although, of course, he must, in time, be

able to manipulate slippery half-crowns and pennies with equal ease.

Florins, as a rule, are more readily procurable in these days, but few

half-crowns being coined in comparison with them. But as the conjuror

must be provided against all emergencies, I shall give directions for

the best method of treatment for each coin. The means adopted for the

temporary concealment of a coin in the hand is known as Palming, and

I shall commence Drawing-room Magic with a description of the various

methods.

CHAPTER I.

PALMING.

THE PALM PROPER--THE FINGER PALM--THE THUMB PALM--THE

REVERSE PALM.

[Illustration: FIG. 1.]

[Illustration: FIG. 2.]

[Illustration: FIG. 3.]

_Method 1. The Palm Proper._--Hold the coin firmly between the thumb

on the one side and the middle and third fingers on the other, the

first and little fingers taking up graceful positions, as it were,

to cover the movement about to be made (Fig. 1). Remove the thumb

to its ordinary position of repose, and, at the same instant, let

the two fingers (second and third) press the coin into the palm of

the hand, half way down the root of the thumb, the muscles of which

must be brought to bear against the edge of the coin, so that it is

held firmly and forms a bridge over the hollow of the hand (Fig. 2).

A backward and forward swing should be given to the hand whilst the

coin is being palmed, as it not only covers the movement, but also

facilitates the operation in a marked degree. In pressing the coin

home, it will be found that the third finger will be more used than

the middle one. The instant the palm is effected, the hand must

be made to assume the most natural position possible under the

circumstances, the little finger being well thrown out, after the

dainty manner ladies affect when holding a cup, so as to give the hand

breadth. Some beginners think that in holding the hand perfectly flat

they are effecting a very beautiful palm; but this is not the case,

as can be seen at once by looking at the hand without any coin in its

palm. That is the model the conjuror must copy: any unnatural position

at once betrays the fact that something unusual is going on. For this

method, the florin will be found the best coin, its edge affording a

better hold than that of any other piece.

_Method 2. The Finger Palm._--The coin is held between the thumb and

forefinger, and the latter then slid aside, so that the coin rests

upon the side of the middle finger. The forefinger then takes the

place of the thumb, and the coin is held as in Fig. 3. The action is

simplified if the coin is held in the first instance between the thumb

and middle finger, but it looks awkward and suspicious. This method

will be found particularly adapted for concealing coins of the size of

a shilling and less. Larger coins should not be treated thus, except

in emergencies, when anything is allowable.

_Method 3. The Thumb Palm._--This palm is not generally known, which

is to be wondered at, for it is a very safe and easy one. The coin

is simply held between the thumb and forefinger, and then slid to

the root of the latter, where it is held, as in Fig. 4. The only

objection to this palm is that it keeps the thumb a close prisoner, to

the manifest loss of grace, but it is exceedingly useful for large

and slippery coins, such as half-crowns, pennies, and crowns.

[Illustration: FIG. 4.]

[Illustration: FIG. 5.]

_Method 4._--Two, three, and four coins may be palmed by the first

method, but the method shown at Fig. 5 is the safer. There is a

rather unnatural disposition of the thumb about it, but the fingers

are left free play.

[Illustration: FIG. 6.]

_Method 5. Reverse Palm._--It is sometimes required of the performer

to show that his hands do not contain any coin. If a coin is palmed

in one of them, he must first exhibit the other open in a very

ostentatious manner, and, whilst the audience is momentarily engaged

in looking at it, press the coin, by means of the thumb, through the

fingers of the hand in which it is held, so that it protrudes at the

back, and cannot be seen from the front (Fig. 6). Some performers

have brought this palm to a great state of perfection. One very

telling effect is to pretend to throw the coin away. For this purpose,

it is held between the tips of the first finger and thumb, whilst

lying upon the side of the middle finger. As the action of throwing

is imitated, the forefinger is slid over the coin, the thumb being

removed, and the coin thus made to protrude at the back of the hand.

Other fanciful methods of palming exist, but they will be of no

practical use to the conjuror, so I have omitted descriptions of them.

CHAPTER II.

TRICKS WITH COINS.

TRICK FOR PALM PRACTICE--HOW TO "PASS" A COIN

INVISIBLY--HOW TO CHANGE A COIN--THE USE OF THE WAND IN

PALMING--TO PASS A MARKED COIN THROUGH A TABLE--METHOD FOR

CONCEALING MANY COINS--THE AERIAL VISIT AND JOURNEY--TO

"PASS" SEVERAL COINS--HINTS ON PRACTICE--TO CAUSE A

COIN TO VANISH FROM A HANDKERCHIEF--ON BORROWING A

HANDKERCHIEF--THE DANCING COIN--A MYSTERY WITHIN A

MYSTERY--TO CAUSE A FLORIN AND A PENNY TO CHANGE PLACES--TO

PICK A MARKED COIN FROM A NUMBER, BLINDFOLDED--THE

MARRIAGE--TO INVISIBLY EXTRACT A COIN FROM OUT OF A GLASS

OF WATER--TO PASS PENNIES INTO A BOTTLE--TO CAUSE EXPOSED

COINS TO CHANGE PLACES--TO "SLEEVE" COINS--HINTS ON MARKING

COINS--THE BEST COINS TO USE.

The uses of the palm will make themselves manifest in every trick in

which money is used as a medium, but the beginner can astonish his

friends, and, at the same time, make himself perfect, by any of the

following minor tricks:

(_a_) Throw the coin backwards and forwards, from hand to hand,

three or four times, in a careless manner, always taking care that

the left hand is shut well over each time the coin is contained in

it; and then make a feint of throwing, but, in reality, palm the

coin after the method that best suits its size. The hand (in most

cases it would be the left, as the majority of conjurers palm with

the right; with left-handed people it would be, of course, reversed)

which is supposed to receive the coin must be closed smartly, so as to

make a noise similar to that caused by a coin thrown into the palm.

This is effected by the ends of the two middle fingers striking the

fleshy part of the thumb (Fig. 7). If this is properly executed,

the illusion is perfect, and all eyes will be directed to the left

hand, when the coin can be quietly placed in a side or tail pocket, to

which receptacle it may afterwards be made to pass from the left hand,

where it is supposed to be, in a magical manner. I would recommend

the beginner to practice this movement sedulously in private, as it

teaches quick and neat palming, and will prove a most useful auxiliary

to many important tricks. By "passing" a coin from place to place "in

a magical manner" is implied the act of _pretending_ to do so; it

being an accepted axiom amongst conjurers never to "pass" anything

invisibly to any given spot until the article is already safely

located there. This practice will, of course, commend itself to all as

avoiding untoward mistakes. To "pass" a coin from the hand, wave the

wand over it, and say whatever you think will go down best with the

particular audience you have before you. A sharp rap on the knuckles

will complete the operation, but always take care to show the hand

empty, otherwise the trick is spoilt. If the wand is not handy,

pretend to rub the coin away between the fingers, or affect to give it

to one of the audience. (See Figs. 8 and 9 for an effective method.)

[Illustration: FIG. 7.

(The dotted line represents the coin palmed in the right hand.)]

[Illustration: FIG. 8.]

[Illustration: FIG. 9.]

(_b_) Have a coin palmed in the left hand, and borrow a similar one

from the audience, and have it well marked (always have coins marked

where possible, "to prevent changing"). Make a movement as though you

placed the marked coin in the left hand, but in reality palm it. At

the same time, open the left hand, and the coin that has been snugly

concealed there will look as if it had just left the right hand. By

this means a change is effected which you can utilise according to

circumstances. By fidgeting about among the audience, you may be able

to place the marked coin under one of them; the other coin being held

by someone who is directed to hold it "very high, sir, very high, so

that everyone can see it"--the real object being to keep him from

examining it too closely. By standing the holder of the coin on a

chair, an opportunity for slipping the palmed coin into his pocket

presents itself, and should be taken advantage of. The marked coin

being once safely hidden, it is an easy matter to palm the unmarked

one (which, of course, the audience has been led to believe is the

marked one) and make it "pass" invisibly to wherever the other may be.

The conjuror's own coin should always be provided with a very distinct

mark--a cross is invariably a safe one to employ--as it is rarely that

one meets with people who can refrain from instituting an illicit

investigation so soon as the conjuror's back is turned. When the

holder of the coin is seen to be surreptitiously examining it for the

mark, the conjuror should not prevent him, but call the attention of

the audience to the fact, and ask if the mark be visible. The holder,

seeing the cross, will answer in the affirmative; he not being aware,

of course, that the borrowed coin was possibly marked with a very

different sign. This incident will add to the effectiveness of the

trick.

In tricks _a_ and _b_ the wand will be found very useful. It

should always be carried under the arm, after the manner in which

soldiers carry their canes; and when any palm has been effected, and

the coin has to remain concealed in the hand, the wand should be taken

in the hand containing the coin. Beginners, especially, will find

this of great assistance, as in the case of a somewhat defective palm

the coin can be pressed well home by clenching the wand hard. Besides

this, the fact of carrying a wand in the hand keeps the idea of the

coin being there from the minds of the audience; and the mind is what

the conjuror has to deceive.

(_c_) Have a coin palmed in the right hand (Palm No. 2), and procure

a similar one, marked, which hold up to the audience by the left

hand. Pretend to take it in the right, but let it fall into the hollow

of the left hand (Figs. 8 and 9); the unmarked coin in the right

hand being exhibited. In order to effect this daring change naturally

and without detection, the thumb of the right hand must be passed

through the ring formed by the thumb and forefinger of the left and

the coin held between them, and the fingers closed well over the

coin, which will appear to be grasped by them. Now place the left

hand under the table, the right hand remaining above. Covered by the

action of bringing it on the table, execute Palm No. 1 with the

right hand, but keep the fingers formed as though they still held the

coin, which you then pretend to lay on the table with a sharp "click."

This "click" is made by the coin in the left hand, under the table,

in order that the illusion may be perfect. The right hand will then

affect to rub the coin through the table, and eventually the one in

the left hand, which has in reality never been out of it, will be

produced. The noise of rubbing is also made by the coin under the

table, only it must not be continued too long; and care must be taken

that the two hands act in perfect unison, as it will not do for the

noise to continue when the action of rubbing with the right hand has

ceased. This trick is not so difficult as it looks on paper, and is

very effective. The whole trick consists in pretending to take the

marked coin from the fingers of the left hand without doing so.

(_d_) Conceal a number of coins in the left hand. As a quantity cannot

be easily palmed, they must be held in the hand with the wand. If that

is not handy, hold the flap of the coat; but care should be taken

that the wand _is_ at hand for this trick. Borrow a hat, taking it in

the right hand (in which a solitary coin is palmed), and transfer it

rapidly to the left in such a manner that the crown is always towards

the audience, and the fingers holding the coins are inside. The coins

must not be jingled, or the trick will be exposed. Tell one of the

audience that he must be very rich if he can afford to carry money

about in such strange places as you perceive he does. Surprise will,

of course, be expressed on his part, when you will fumble about in his

hair, and eventually find the coin which you have had palmed. This is

a much better method of commencing than merely saying, "I have here

a shilling." It is sure to amuse the audience, and put you on a good

footing with them; besides which, it is always well to mingle as much

with them as possible, as then people go home and say, "Oh! he came

right down among us, and found money in people's heads," &c. Also take

care to find the money in an elegant and inoffensive manner. Having

spun the coin in the air, in order to show that it is a real one,

retire to the end of the room, as far away as you can, if the room

is small, and hold the hat, still in the left hand, before you, with

the crown towards the audience. With the coin in the right hand, make

a pass at the hat, palming the coin (Palm No. 2), and letting one

from the left hand fall. You will then appear to have passed the coin

from the right hand into the hat, by way of the crown. Should the coin

by accident fall on a soft place in the hat, and make no noise in so

doing, shake the hat about to show that the coin really is inside, or

no one will know what is supposed to have taken place. Now advance a

step or two, looking cautiously forward as if you saw something in the

air, and suddenly make a dart out with the right hand, at the same

time bringing the coin to the extreme ends of the fingers. The idea

conveyed is that the coin has been caught in the air (Fig. 10).

Pass it through the hat, letting another fall from the left hand,

and shaking the hat so as to ensure the two that have been dropped

jingling together, and find another in the air a little farther on.

Proceed in this way till all the coins in the left hand are exhausted

(varying the proceedings by occasionally finding one at your elbow or

foot), and then show the hat with coins to the audience, a member of

which will doubtless have "just one more" seated on the tip of the

nose, which coin is put into the hat in the ordinary way. The beginner

should use shillings, seven or eight only in number, for this trick,

although larger coins are certainly more effective at a distance. It

is best to use two palms, viz., the finger palm when the coin is to be

caught in the air or in the flame of a candle (a very pretty effect),

as it is more readily brought to the ends of the fingers from that

position; and either of the others (No. 1 for choice), when the coin

is to be found on the body or elsewhere. It is as well to occasionally

pretend to put the coin into the hat in the ordinary way, instead

of through the crown. Some conjurors object altogether to passing

through the crown; but this is merely a matter of fancy. It sometimes

happens that the person in whose hair you find the first piece will,

from his being a "funny man," or otherwise privileged person, ask you

to give him back his property. Acquiesce at once with his request,

of course after your own manner, which will be to palm the coin, and

pretend to give it to him, much to his discomfiture. In borrowing the

hat, be sure that it hides the left hand in the act of being taken,

so that any accidental exposure of the coins held there, which might

occur through inexperience, will be covered. Also observe the greatest

caution in dropping only one coin into the hat at the first pass.

After the first coin has fallen, it does not matter if two or more are

accidentally let fall at once, as the error could not be detected;

but at the commencement it would be simply fatal to do so. Under cover

of the hat it is easy to separate one coin from the rest for the first

drop. If the number of coins is very limited, you must give the hat a

short, sharp shake, which will serve in lieu of letting one fall; but

only do this now and then. This trick will be treated in an enlarged

form, under the head of "Grand Magic." When any number of coins are

required for any other trick, they should always be collected in

this manner, it being a most effective method. Always take a step

in advance each time a coin is found. For this reason the performer

should stand well to the right on the stage on commencing.

[Illustration: FIG. 10.]

(_e_) The following makes an excellent "follow" to the preceding

trick: Suppose that you have sixteen coins in all in the hat; conceal

four of them in one hand. If the hat is then held by the same hand,

it will not be noticed that it contains any coins. Now ask someone to

count the coins in the hat, and, of course, there will be twelve. Take

four of these away, and give them to be held by another person. Hold

the hat high in the air, and tell the person who has the remaining

eight coins to drop them into it when you have counted "three." Watch

the action of his hand narrowly, and, as the eight coins fall, release

the four concealed in the hand which holds the hat so that they all

fall exactly together. The great thing to avoid is the sound of two

distinct drops, which would be fatal. Leaving the hat, covered with a

handkerchief if you please, in the hands of your temporary assistant,

who will, of course, be enjoined to "hold it very high," you take the

four coins just previously given to be held, and "pass" them invisibly

into the hat, where, of course, twelve coins will be found. The method

for passing used is the same as that depicted at Fig. 7, with the

difference that the coins are not palmed. They must be held in the

fingers loosely (Fig. 11) so that when the false movement of placing

them in the outstretched palm is made they will come together with a

clash, which is highly necessary for the success of the pass. The

hand actually containing the coins must instantly seize the wand,

which article will then cause the magic journey from left hand to hat

to be made. Be careful that the counting of the coins is done in a

very deliberate manner, and in a loud voice, so that everyone in the

room knows how many coins are supposed to be in the hat before you

pass the rest into it. If this is not done, the effect of the trick is

lost.

[Illustration: FIG. 11.]

Here let me advise my readers to assiduously practise quick palming,

for which purpose I would recommend trick _a_ as a most effective

exercise. So much depends upon a quick and secure palm, that too

great a stress cannot be laid upon it. Indeed, I cannot too strongly

impress the learner with the necessity of practising everything, to

the minutest detail, in private, before venturing to perform before

others. By so doing, much chagrin and disappointment will be averted.

(_f_) The trick I am now about to describe will, I have no doubt,

be known to many of my readers; but I ask no excuse for giving it

here, as those who can claim a previous acquaintanceship with the

trick will, perhaps, here learn a wrinkle or two worth knowing:

Borrow a handkerchief. When I say "borrow a handkerchief," I do not

mean simply borrow one without any comment. On the contrary, make

a great fuss about never using your own handkerchief, &c.; and be

particular to hand round all borrowed articles for inspection, to show

that you "have no confederates." By making your audience thoroughly

sick of looking at borrowed articles, they are more likely to pass

over anything of your own that will not bear minute examination.

This should be borne well in mind. Spread the handkerchief out upon

the table, and place a coin, not heavier or larger than a shilling

(borrowed and marked), in the centre of it. Beneath the nail of the

middle finger of the right hand (which hand is immaterial, but for the

purpose of illustration it is necessary to use the terms "right" and

"left") you have a small piece of bees' wax (on no account cobblers'

wax) which you have previously made tolerably adhesive by working it

about. Place this finger on the coin, saying, "Now, in order that

all may see that I do not for one instant move the coin from its

position, I place this finger upon it," and, taking up one of the

corners of the handkerchief in the other hand, fold it over the coin

so as to well cover it, and press it down hard, allowing the wax to

come off on the coin, and to cause a mutual adherence between it and

the handkerchief. Fold the remaining three corners over one another

with great deliberation, exhibiting a portion of the coin each time,

to show that there is "no cheating." When all four corners are folded

over, the handkerchief will still be in the shape of a square, but

of course much smaller than it was at the commencement, and it will

have an aperture running from the centre to each corner. Note the

portion of the handkerchief to which the coin is stuck, and place

the two hands, side by side, in the aperture formed by this portion

and the one next to it (Fig. 12). If the hands are now separated

briskly, and the sides of the handkerchief allowed to slide through

the fingers, it stands to reason that, the coin being fast to the

corner of the handkerchief, it will, when the corner is reached,

find its way into the hand. The handkerchief must be shaken hard,

as soon as the coin is safe in the hand, for effect. The operations

of opening the handkerchief and shaking it must be practised until

they can be compassed both smoothly and quickly in one movement.

The trick is easy, but requires some little practice. Common soap

is an excellent substitute for wax, but it has the disadvantage of

being less portable. The beauty of the wax is that it can be so

easily concealed beneath the nail, and comes off the coin cleanly.

The coin successfully vanished from the handkerchief, it rests with

the performer to reproduce it in what manner he pleases. If he has

already found coins in the heads of the audience, the reproduction

can be varied. For instance, if a tiny piece of wax be affixed to

the flat end of the wand, and that end brought into contact with the

coin whilst in the palm, and a little pressure used, the coin will

adhere. Then, if the wand be passed rapidly behind a curtain, or

inside the coat of one of the audience, a great effect can be caused

by slowly producing the vanished article from its supposed place of

concealment at the end of the wand. The trick can be further prolonged

by having about 15in. of human hair, with a tiny bead of wax at the

end, affixed to a waistcoat button. Affix the coin to the waxed

end, and place it in a wineglass, in which it can be easily made

to dance by slightly moving the glass or depressing the hair with

the wand, which is supposed to be beating time. Such a combination

of tricks, each one easy in itself, affords invaluable practice to

the beginner. The conjuror, like the chess-player, must always see,

in his mind's eye, two or three moves ahead, so that no hitch or

hesitation occurs. For example, the instant the coin reaches the hand

from the handkerchief, it must be palmed, the wand taken up, and the

handkerchief ostentatiously given round for inspection to show that

there is no hole in it, or for any other plausible reason. Perhaps

you will only gain five seconds by this, but that is time enough to

enable you to press the wand against the coin. You must not, after

this, allow the least pause to occur, but at once seize someone, and

have your wand inside his coat before he knows what you are about; for

it must be remembered that, if the action is noticed, the coin will

be noticed too, as it is in a tolerably conspicuous position at the

end of the wand. Then, whilst you are rating the individual soundly

for having endeavoured to spoil your trick by concealing the coin, and

drawing universal attention to him, one hand will be busily employed

in pressing the waxed end of the hair against the coin. The trick of

dancing a coin in a glass is so well known that no one with any desire

for a reputation as a prestidigitateur would introduce it by itself;

but, in the illustration I have just given, the coin has been in such

a variety of places and situations, that the idea of its being fixed

to anything does not enter the minds of the audience. Half-a-minute's

dancing is quite sufficient, and at the end of it the attention of the

audience must be at once drawn into another groove by your showing the

coin to be the veritable one marked some time since, the wax being

removed by a finger nail.

[Illustration: FIG. 12.]

(_g_) Another very pretty trick is the following, although also well

known. Procure (a "magical repository" will be found the best place

to go to in the long run) a "nest" of round boxes, one fitting inside

the other. If the outside one is of the size of a crown piece, and

the inner one large enough to contain a shilling, the "nest" should

consist of nine or ten boxes. Have the lids arranged in order, one

within the other, and the bodies in the same manner, beside the

lids. If you are performing with a retiring screen, the boxes can be

arranged behind it. Lacking this, the next best plan is to have them

at the bottom of a bag, which will stifle the noise made by shutting

them. Borrow a marked coin, which you will exchange for a similar one

in your palm (Palm No. 1). Give this to be held. Say, "Now, here

I have a small box." But as you have purposely left the "small box"

behind your screen or in your bag, as the case may be, you will have

to go and fetch it. As soon as your hands are out of sight, pop the

coin (which will be the marked one) into the smallest box, and shut

all the lids down together. If you have to do this inside the bag,

and consequently in full view of the audience, your face must bear an

anxious and slightly annoyed expression, as if the box could not be

found. As soon as the manoeuvre is executed, exclaim, as if much

relieved, "Ah, here it is. Now, ladies and gentlemen," &c., &c. The

operation of shutting all the boxes down at once is a very simple

one if the lids are taken in one hand and the bodies in the other,

the two halves meeting, as it were, half way. A little practice will

soon show the futility of attempting to _turn_ the lids over on the

bodies. Place the box in a prominent place (do not give it to be held,

as a slight shake will reveal the fact that there is a coin already

inside), and, taking the coin out of the handkerchief, "pass" it into

the box, which now ask someone to open. Of course, box No. 2 will be

found inside, at which you will say, "Dear me!" or make any other

expression of surprise. Boxes Nos. 3, 4, and so on will in turn be

revealed, amidst great amusement, and in the innermost one, which

the performer must, on no account, open himself, the coin will be

discovered. You cannot very well avoid allowing an examination of the

boxes, but always take care that the lids are in one place and the

boxes in another, and all in great confusion as to gradation of size,

and at the earliest opportunity sweep them away. It is the fashion

to perform this trick with a coin previously sewn in a handkerchief,

which handkerchief is whisked in the air. The effect is decidedly

good, if not spoilt (as it certainly will be, ever and anon) by a

demand to examine the handkerchief, which demand, I need hardly say,

it is impossible to accede to. This sort of thing the conjuror must

never indulge in. Let him borrow and return his handkerchief like a

man, and trust to his sleight of hand.

(_h_) Palm a penny (Palm No. 1); borrow another, and a florin.

Ask one of the audience to extend his or her hands (palms open and

upwards) towards you; give the borrowed penny to be held by someone

else, hold the florin at the ends of the fingers of the left hand,

and execute the pass described in trick _c_, which will leave the

florin in the palm of the left hand. The penny in the right hand

must not, however, be actually exhibited, as is the coin in trick

c, but be immediately placed in one of the outstretched hands before

you. If the owner of them is at all restive, and anxious to see what

is in his or her hand, or is a person you know or think you cannot

trust, ask the nearest person to assist in the operation by holding

the hand in one of his or her own. This, you will explain, is to show

that you have no confederates. If the two parties are of opposite

sexes, you can improve the occasion by some gentle sally about the

gentleman being honoured by holding a lady's hand, &c. This operation

concluded, the audience, including the holder of the coin, is, you

may have no fear, under the impression that the florin is in the

holder's hand. You have now to make believe to place the penny into

the other outstretched hand. To do this, you must execute the same

pass as before, only reversed; _i.e._, the right hand will hold the

penny, and the left the palmed florin. This trick affords an instance

where palming with both hands is a requisite accomplishment. If the

performer is not able to palm with both hands, an opportunity must

be made for getting the coin in the left hand back into the right.

By repeating the change as before, you will be supposed to place

the penny in the other hand of the holder, and, drawing particular

attention to the exact position of the coins, command them to change

places. This trick, so simple to look at, is one of the most difficult

to perform of those yet described; for not only must the sleight of

hand be well executed, but the whole demeanour of the performer must

be impressive of the fact that he really is doing what he says he is,

instead of exactly the reverse. Yet the impressiveness must not be too

pointed, or the natural suspicion in human nature will be aroused.

The "happy medium" is well hit if the performer, in giving the florin

(in reality the penny), says, "Now, sir" (or "madam," as the case may

be), "I will ask you to take great care of this coin for me. Conjurors

are but poor people, and cannot well afford to lose money; for this

reason I have given you the florin to hold in your right hand, it

being the stronger." On giving the penny, you can say that "I would

rather, for safety's sake, that it were along with the florin in the

right hand, only, in that case, there would be no trick." In giving

the coins into the holder's hands, it is highly essential that you

close the latter rapidly, the coins being so covered by your own

fingers during the operation that nothing is seen of them. Otherwise,

it would be unnecessary to proceed further with the trick. The florin

may be marked, but not so the penny, unless the audience insists upon

it, as they sometimes will, at the instigation of Mr. Interference;

in which case the pennies must be once more exchanged--a very simple

matter--before the coins are returned to their owners.

(_i_) Borrow or produce (it is immaterial, save for appearance, which

you do) six to nine coins, and lay them, apart from each other, on

a table or slab. Have one of the coins marked by several persons in

the room (use the "no confederate" excuse), and placed along with

the unmarked ones in a hat and the whole shaken up so as to be

well mixed. Whilst this is being done, have yourself blindfolded.

Placing your hand in the hat, feel every coin, and you will at once

detect which is the marked one, by its warmth. The heat is imparted

to it from the many hands through which it has passed. It is always

advantageous to have the other coins lying on as cold a place as

possible; but never turn back a tablecloth for the purpose of allowing

them to lie on the bare mahogany, or a clue to the solution of the

mystery will be given. Sometimes some clever people will pretend to

put the marked shilling into the hat without doing so. This you can

easily detect by counting the coins. Of course, you would not count

them until you failed to find the marked one, as the trick should

be performed as quickly as possible. No sleight of hand whatever is

required; but it is a trick which never fails to excite the greatest

wonderment whenever successfully performed. By allowing the audience

to arrange the preliminaries, you disarm suspicion. The blindfolding,

which is an innovation of my own, I find a great improvement. Of

course, make the most of it.

(_k_) Have a shilling palmed (Palm No. 1), and borrow another; also

a handkerchief. Place the borrowed shilling in the handkerchief, which

roll up very loosely, the coin from the palm being included in the

folds, and as near the other one as possible without actually touching

it. Place the whole in a hat, with one end of the handkerchief hanging

out. Now borrow another shilling, which say you will pass invisibly

into the handkerchief. Make a pass, and ask someone to shake the

handkerchief into the hat, when the two coins will jingle together.

This is a simple trick, and is capable of variation according to

circumstances.

(_l_) The trick I am now going to describe, as a drawing-room

experiment with coins, surpasses, for simplicity and effect, all

others. But its simplicity must not lead the learner to attempt it

without having attained some proficiency in the foregoing tricks, for

considerable neatness is required to execute it effectively. Procure

a piece of glass of the size and thickness of a penny, and have the

edges ground smooth, but not polished. This is best obtained from a

lapidary--not an optician. Have it palmed in either hand (Palm No.

1). Borrow a penny, and, whilst it is being marked, ask one of the

audience to half fill a wineglass, which has been well examined, with

water. Always let the audience attend to such matters as these, as it

tends to disarm suspicion, and also saves you trouble. You will, of

course, not omit to make the most of there being no possible deception

in the glass, which you will give a lady to hold by the stem or foot.

Now borrow a white handkerchief, as coarse as you can procure it (do

not ask for a coarse handkerchief, for that would be impolite, but say

you want a gentleman's handkerchief, and then you can select which

you prefer), and, taking the marked coin in the same hand as that in

which the glass is palmed, spread the handkerchief over it. Approach

the lady holding the wineglass, and affect to take up the coin, with

the handkerchief, from the outside, by means of the disengaged hand,

but in reality take up the glass, palming the coin (Palm No. 1).

Now spread the handkerchief over the wineglass, with the supposed

coin exactly above the latter, and within an inch of its rim. Let

the holder of the wineglass grasp the coin (_i.e._, the counterfeit

presentment thereof) with the thumb and forefinger of the disengaged

hand, and keep it in the same position, with the understanding that

at the word "three" it is to be allowed to fall into the glass (see

Fig. 13). Take great care that the piece of glass is held exactly over

the wineglass, and utter the word of command only when there is a dead

silence. The jingling of the falling glass will, of course, be assumed

by the audience to be that of the penny. You will now express your

intention of invisibly extracting the coin from the glass. Use any

cabalistic form you may choose, and, with a flourish of the wand from

the wineglass towards your hand, exhibit the coin, and give it to be

examined. Let the lady withdraw the handkerchief from the wineglass,

which at once seize and show rapidly round. The glass at the bottom

will not be perceived, and you must take an early opportunity of

extracting it. Some tricks "take" in various degrees at different

times, but this one never fails to throw the audience into a state of

bewilderment. Always obtain possession of the wineglass as soon as you

can after the completion of the trick, for people will sometimes feel

to the bottom of it with their fingers, although without the faintest

notion of what they are looking for. When you bewilder people, you

must not be surprised if they do inexplicable things, and must prepare

yourself for all emergencies.

[Illustration: FIG. 13.]

My reason for directing the performer to borrow a _penny_ for this

trick is that it has, similarly with the circle of glass, no milled

edge, and is of the size most convenient for the occasion. In extreme

cases an eyeglass may be used, when, if it has a milled edge, as

most of them have, it would be as well to borrow a florin; but in

such instances there must be no dallying in showing the glass round

after the trick, or the ribbed edge will infallibly be seen. I

remember finding myself, on one occasion, without my piece of glass,

and borrowed an eyeglass of one of the audience, under the pretext

that the silken cord by which it was suspended was the very thing I

required for a trick. I did some trivial thing with the cord, but

forgot to return the glass for an hour or so, having in the interim

forced it out of its frame (it was mounted in tortoiseshell),

performed the trick, and replaced it. I knew that I should have to

perform this particular trick, or have my reputation tarnished, so

made a bold stroke for victory. Now I am never without the glass, and

advise my readers to observe the same precaution. A port wine glass

is the best to use, the piece of glass being liable to stick in the

comparatively narrow sherry glass. Always give the wineglass to a lady

to hold: ladies are less liable to attempt to conduct experiments

after their own manner, or to make premature disclosures, either of

which proceedings is embarrassing to the performer. The conjuring

repositories supply a champagne tumbler, with a glass exactly the

size of the interior of the bottom. This is an undoubted improvement,

as the water may be poured out, if an examination be demanded, when

the glass will still adhere to bottom of the tumbler, although the

latter be turned upside down. This trick, when "worked" in conjunction

with the nest of boxes, previously mentioned, makes an excellent

combination. The nest can be used for any sized coin by the simple

expedient of removing the very smallest boxes.

(_m_) Take a penny, in good condition, and make, or have made, by a

competent person, a groove, quite 3/16in. deep, all round the outer

edge. This is very easily and most efficiently managed by means of

a lathe; but, wanting that useful machine, a piercing-saw and flat

needle-file will answer. When the groove is completed, with the

piercing saw cut the penny into three pieces of equal width. Now take

a very fine indiarubber band, obtainable at all shops where rubber

goods are sold, and stretch it round the groove. The illustration

shows the penny in three pieces, and also the band--actual size

before being stretched. In putting on the band, commence with the

centre piece, and then fit in the side pieces, the greatest care

being necessary not to allow the band to get twisted. The result of

these operations, when concluded, is that the penny can be folded up

and made to occupy a space in width one-third of its usual diameter.

When held at a little distance from the spectator, the incisions are

not observable, especially before the penny is used for a trick, the

issue of which, being unknown, does not lead the suspicions of the

audience into any particular groove. As the act of folding causes a

sharp strain to be put upon the band at the junctions, the groove at

those points must be carefully filed, so as to completely do away with

anything resembling a cutting edge, or a disaster may very easily

occur. Invariably, before using, the band should be minutely examined,

and, if the slightest signs of wear manifest themselves, it should be

changed.

[Illustration: FIG. 14.]

The prepared coin (which need not necessarily be a penny) is generally

used in conjunction with a bottle, into which it is made to pass,

_viâ_ the mouth. In order to make the trick at all satisfactory,

a marked penny should be borrowed, and exchanged, by any of the

previously described methods, for the prepared one.

A soda-water bottle has been previously handed round for examination,

and this is taken in the left hand. With the right hand show that the

penny is at least as broad again as the mouth of the bottle, and then,

folding it up quickly whilst making a covering movement, and hidden by

the body of the hand, let it fall through. Show the bottle round to

the spectators, continually shaking it, as if to convince them that

the coin is solid and real, but really to prevent the possibility

of the slits being seen. The trick can now be finished in two ways,

viz., the bottle may be broken, or the coin can be shaken out again. I

fancy the breaking of the bottle is the more effective, as the shaking

out method impresses too forcibly upon the mind of an intelligent

company the fact that some mysterious, if ingeniously concealed,

preparation exists in connection with the coin. But the performer

in this instance, as in very many other cases, must be guided in

his actions by the mental calibre of the spectators. To shake the

coin from the bottle, the latter should be taken horizontally in the

right hand, the fingers of the left hand closing round the mouth,

leaving a hollow in the palm for the coin to fall into. A not too

violent sweeping shake is then given, bringing the mouth of the bottle

downwards, when the coin should pass into the left hand. Some little

practice will be required to insure this operation being brought

off at the first attempt. Having to shake the bottle three or four

times looks unskilful, although it does not absolutely spoil the

trick. I have directed the use of a soda-water bottle because it has

sloping sides, which facilitate the operation of getting the penny

out very considerably, and also because it is made of white glass.

If a coloured bottle were used (which it must not be, if possibly

avoidable), the spectators would suspect that a coin had somehow been

concealed in the interior before the trick began. However the coin

may be regained, whether by breaking the bottle or by shaking out,

it must be immediately re-exchanged for the borrowed penny, which

will then be returned. It is quite possible to have that coin palmed

during the whole operation; but if the performer lacks the necessary

skill for this, it should be carried in the ticket pocket of the coat.

The conjuror should have every coat he wears (excepting his dress

one) furnished with this ticket pocket, and it will be greatly to his

advantage to have one on each side. It should not be too deep, so that

coins and other articles may be speedily reached with certainty, and

it should not have a covering flap.

The penny can also be prepared by omitting the groove, employing

instead holes, made completely through, across the slits, through

which elastic is passed, and fastened. As, for this purpose, flat

elastic is immeasurably superior to any other form, some trouble is

entailed in making suitable slits through; but, once accomplished, the

article is far better than one prepared in any other way. The elastic

should run quite freely through the centre piece, and be fastened with

glue to the outside pieces only, first being slightly stretched, to

insure the whole being brought closely together. The grooved penny can

be purchased at a much less cost than would be incurred in making it,

and, in addition, is more likely to be correctly constructed.

[Illustration: FIG. 15.]

The following is a development of the use of the folding penny, which

is even more startling than the foregoing, one or more pennies being

made to pass into a bottle, which has been examined, and which has the

mouth stopped by a large cork. In this case, the cork (Fig. 15) is

a delusion and a snare. It is just 2in. long, and 1-1/16in. broad at

the top, tapering to 15/16in. at the bottom. Viewed from the exterior,

it is a cork; in reality, it is made of brass, with a thin veneer of

cork glued on the outside. The measurements given include the cork

skin. The bottom opens, flap-like, on a hinge, but is kept normally

closed by means of a fine spiral spring, running the whole length of

the inside, and soldered on the top and bottom. Protruding through a

hole drilled in the top is a pin, which also runs the whole length of

the interior (carried inside a small tube), and, when pressed, pushes

open the bottom flap, thus allowing any contents there may be to fall

out into the bottle. When the pressure upon the pin is removed, the

power of the spring closes it again. This cork is charged with one or

more folding pennies (three or four are generally used), and concealed

in the hand, a genuine cork being handed for examination. The latter

is changed for the "property" cork, which is then placed in the

bottle, which must be white, and, of course, have a very wide mouth.

The performer now produces some pennies, which he may "pass" into the

bottle in any way he pleases. A good method is to use the two boxes

described in "Grand Magic" as then the performer's hands are free.

But the pass shown at Fig. 11 may be employed, the bottle being

taken in the hand in which the coins are actually concealed. When the

coins are being "passed," the bottle must, of course, be held in one

hand or the other, and pressure given the pin by a finger at the

proper moment. Where one coin only is used, it may be simply palmed,

which method would also apply where the performer is skilful enough to

palm several coins at once. In this case, the coins would merely be

held in one hand, and the bottle in the other, and the coins thrown

into the bottle.

(_n_) A very pretty trick, though rather difficult to learn, is

performed, with the aid of the Reverse Palm (Fig. 6), as follows:

Borrow from two separate persons two coins of the same denomination.

Take particular pains to have the marks quite distinct on each,

so that the two are distinguishable from one another. There is no

objection to the performer superintending the marking, in order to

insure its being properly done. One coin, for instance, might have

a single stroke marked upon it, or a cross, whilst the other could

have a small circle or an initial. The numbers 1 and 2 could also be

efficiently employed; and, for facility of description, I will now

suppose them used. Palmed (Fig. 2), you have another coin of your

own, similar to those borrowed. You place two chairs or settees a

little distance apart, between yourself and the spectators. Take coin

No. 1, and, standing behind one of the chairs, facing the company, act

as though you tossed it upon the cushion. What you really do, however,

is to palm the coin by the reverse palm, following the instructions

on page 8, for throwing a coin away into the air; the coin that

has been concealed in the palm being released, in its stead. This

action must be assiduously practised until it can be performed with

complete certainty and smoothness. Practise first tossing a coin on

a chair from a distance of a couple of feet, and then imitate that

action as nearly as possible whilst making the change. The toss must

be made with a steady, smooth swing, neither too hurriedly nor too

slowly executed. When the manoeuvre is finished, the palm of the

hand must, of course, be towards the audience. A half, or whole, turn

of the body must now be made, to enable the performer to get the coin

from the back of the fingers to the palm proper. The way to ensure the

safe execution of this is to put the thumb over the first finger,

so that it grasps the coin, assisted by the middle finger. The first

finger can then be drawn out of the way. With coin No. 1 in the palm,

take coin No. 2, and repeat the changing operation, at the completion

of which the state of affairs will be: On chair 1, duplicate coin

(supposed by spectators to be coin No. 1); on chair 2, coin No. 1

(supposed by spectators to be coin No. 2); in performer's palm, coin

No. 2. Any fanciful form of causing a magical change to take place

may be gone into, and the performer then asks a spectator to examine

the coin on chair 2, which is found to be coin No. 1. As only two

coins are known to the spectators, it is taken for granted by them

that the one on chair 1 is coin No. 2; but it will be as well for the

performer to incidentally remark, "And, of course, there is coin No.

2," and then at once proceed to show the trick over again, "for the

general satisfaction of those present." For this purpose, coin No.

1 is taken from the person who examined it, and ostensibly replaced

upon chair 2. Instead, however, coin No. 2 is placed there. Under the

plea of placing the chair a little closer, so that a better view may

be obtained, the performer takes up duplicate coin from chair 1, and,

in apparently replacing it, substitutes coin No. 1. The coins have

thus been made to regain their old positions, and may now, of course,

be freely examined, the performer not touching them again. If the

performer feels any confidence in himself in this rather difficult

trick, he may use three marked coins, when, by skilful manipulation,

he may make all sorts of changes. By working changes with only two of

the three at a time, he always has one lying dormant, which is not

liable to inspection, and may, therefore, be the duplicate one. It is

not advisable for him to prolong the trick, unless it be going very

well. He must keep his wits about him, however, or he may find that he

has forgotten the precise whereabouts of his own coin. A very bold,

but remarkably effective, way of bringing about the final change is

to pick the coin from the chair, and, instead of moving that closer,

toss the coin into a lady's lap. The lady should be sitting upon

the extreme verge of the other spectators, or else must be shielded

by some article of furniture, or the coin palmed at the back of the

hand is not unlikely to be seen. The very boldness of this action is,

however, its chief safeguard, only there must be no sort of hesitation

in its execution.

A performer with large and muscular fingers can use half-crowns

for the trick, but for the beginner shillings and halfpence will

be sufficient. Copper coins are not so effective as silver; but an

accidental exposure of a portion of them is not so readily perceived

as is the case with the brighter metal--not that there is the least

excuse for such exposure.

Before returning the duplicate coin to the pocket, the performer may

produce one or two other effects with the reverse palm. Let him borrow

a hat, and a coin similar to the one concealed. Standing sideways to

the company, let him have the duplicate palmed reversely in the hand

that is farthest from the audience. Say it is the left hand. With the

right hand place the hat into the left one, the thumb on the brim, the

fingers inside. As the company have seen the palm of the left hand

open, not the slightest suspicion will be entertained that it holds

anything. The borrowed coin is now made to perform an ærial journey,

being palmed. The performer's eye follows its imaginary flight,

and then catches it in the hat, the coin in the left hand being of

course released, when it will be heard to fall. After showing this

coin, reverse palm the other, under cover of the hat, and repeat the

operation. To do this, the performer must be able to palm equally well

with either hand. If the trick be repeated, it should be varied each

time by some such device as finding that the coin had taken refuge in

a gentleman's hair, lady's handkerchief, &c., on its way to the hat.

By the time the learner has proceeded thus far with success, he will

have acquired a proficiency that will enable him to amuse a circle of

friends for an hour or two by means of coin tricks alone, without much

fear of detection, especially if the rule of rehearsing in private

before exhibiting in public be adhered to. The security afforded by a

good palm can scarcely be over-estimated, as it enables the performer

to attempt the most barefaced impromptu experiments with comparative

impunity. These impromptu interludes are always conducive to success,

for the audience can generally discover originality.

But, before taking a temporary leave of coins, I must put my readers

up to a few wrinkles in connection with the use of the sleeve--a

portion of the conjuror's attire which is but rarely employed,

notwithstanding the popular exclamation of "Up his sleeve," which is

usually made use of when the operator has vanished some trifle in the

shape of a cauliflower or rabbit, for the reception of which articles

the sleeve of a dress coat is so admirably adapted. No; the sleeve

is only used when its coadjutorship is unsuspected; and, in the case

of coins, only when the palm is suspected of containing the coin. So

many people have a misty idea of palming, that one frequently hears

whispered, "In his palm." Should the whisperer be wrong, of course

you will at once prove him to be so by exhibiting your palms empty;

but should he be right, you will then feign not to hear the whisper.

Sometimes, though, the announcement is not made in a whisper, but

in the form of a challenge to you, and this you must be prepared to

meet. Suppose the coin _is_ palmed and you are challenged; you are

close to or among the audience, and the challenger is importunate.

Nothing remains but to sleeve the coin. This manoeuvre is executed

by shooting the arm straight out, the palm open and downwards, with

such force as will carry the coin up the sleeve. Of course, you

must not stand in middle of the room shooting your arm out, or the

audience will either divine what you are about or will think you are

taking leave of your senses. The action must be covered by an advance

towards the challenger, which must be done as boldly as if you had

never even seen the coin, much less concealed it in your palm. As

you advance, say something; for example, "What! in my palm, sir? I

don't understand you. How can anything be in my palm? If you don't

believe me, see for yourself." With this, make the shoot, and turn

the hand over. Care must be taken that the arm is quite level, or the

coin will slide gracefully on to the floor. You must not stop here,

but say, "Perhaps you would like to see my other hand as well, sir"

(show left hand, at same time allowing coin to fall back in the right,

where palm it), "or maybe you think the coin is up my sleeve." Shake

both arms vigorously, which, as the coin is again in your palm, you

can do with impunity, and ask someone to feel your sleeves. An extra

effect is given by your asserting that the cause of the gentleman's

anxiety was that he himself had basely pilfered the coin, and wished

to pass the odium on to you. With this remark, produce the coin from

some part of his person. Barring the disturbance to the equilibrium of

one's feelings of security whilst the performance is going on, this

little interlude, promptly carried out, is as good as any set trick.

Of course there must be no bungling. Should the sleeves be turned

back, as they often will be, they must first be unrolled, with great

deliberation. In such an instance you would, of course, show that

your sleeves are guiltless of any deception, before exonerating the

palm. Practice will enable you at once to perceive the nature of the

objection about to be raised, so that ordinarily you can anticipate,

and turn down one sleeve at least. It is not often that the exigency

occurs, but it will infallibly do so at some time or other, so one

must be prepared to meet it, or be looked upon as an impostor. A

second method for sending a coin up the sleeve is to place it almost

on the ends of the fingers (Fig. 16) palm upwards, and, turning the

hand rapidly over, close it (Fig. 17). This will throw the coin

up the sleeve, whereas the appearance is that it is enclosed in the

hand. A third method is to hold the coin between the thumb and middle

finger (Fig. 18) and "flip" it up the sleeve. A fourth method is to

place the coin on the edge of the table and cover it with the ends of

the fingers, which draw smartly back and shut, when the coin will be

shot up the sleeve. This somewhat resembles the second method. A fifth

method is to spin the coin high in the air, and as it descends make a

"grab" at it as if catching, but in reality allow it to fall down the

sleeve, keeping the hand shut as though holding it. This is one of the

most thorough deceptions I know of. It is so perfect that the operator

himself cannot see the coin enter the sleeve. I am quite aware that

it seems improbable, but a trial will be conclusive on the point. A

pleasing variety of the first method is to place a coin (the heavier

the better) on the palm of the hand. Turn the hand over briskly, at

the same time thrusting it well forward, and the coin will slide up

the sleeve. In performing any of these tricks be careful to have the

shirt cuff pulled well up and out of the way, and do not wear large

links or solitaires, against which the coin will infallibly clink, if

only for the simple reason that it is not wanted to do so. No one but

a bungler would use the sleeve in his regular performances, except

when driven by necessity; but it is highly essential for a conjuror to

be perfect in all the minutiæ of his art, and he must practise them as

the pianoforte-player practises the scales which he never plays to the

public.

[Illustration: FIG. 16.]

[Illustration: FIG. 17.]

[Illustration: FIG. 18.]

In using marked coins, always take the greatest care that the marking

is done in such a manner as to render it impossible for the coin not

to be recognised on making its reappearance; and also let several

people see the mark. It is very disheartening, when you have performed

an elaborate trick, in which a Mr. Interference has given you no

end of trouble, to hear the owner of the coin say that he cannot

recognise his mark. I have seen people put some trivial mark on a coin

in pencil, which would rub off immediately. It is also advisable to

have a quantity of cheap coins by you. In such tricks as trick _d_,

large, thin, and showy silver Turkish coins are the best. They possess

every advantage; the milled edge gives a firm hold for the palm,

whilst the substance of the coin allows of a large number being held

in the hand. Besides this, thin coins give a good business-like clink;

whilst a large coin is always more effective than a small one. Pennies

plated over make very fair substitutes, and do not entail much loss of

capital if kept aside ready for use, as they always should be, which

can hardly be said to be the case with florins or half-crowns.

CHAPTER III.

TRICKS WITH COMMON OBJECTS.

ON RAPIDITY AND DECEPTION--MISDIRECTION--A JAPANESE SUGAR

TRICK--"FLY AWAY, JACK; FLY AWAY, JOHN: COME AGAIN, JACK;

COME AGAIN, JOHN"--A "RISING BLADE"--TO RESTORE A PIECE OF

COTTON THAT HAS BEEN CUT UP IN SMALL PIECES--TO PASS A RING

FROM A HANDKERCHIEF ON TO A WAND HELD AT EACH END--A SECOND

METHOD--A THIRD METHOD.

I commence this, the second portion of drawing-room conjuring, with

the decided hope that, before my readers attempt to follow me, they

will have attained some proficiency in the art of palming and other

little matters alluded to in my remarks concerning the treatment of

coins. If such skill has been acquired, although in a small degree

only, it will be of use in rendering the manipulation of other objects

much easier. The prevailing idea with the public is that a conjuror

moves things about from place to place before one's very eyes, but

with such extreme rapidity as to avoid detection. This, I say, is the

prevailing idea, and long may it continue to be so, since it is the

very thing an audience is supposed to imagine. The learner, however,

must, from the outset, dismiss such an impression from his mind as

untenable, even for an instant. If he has a lurking opinion that

a hand _can_ be moved without the motion being detected, let him

practise at moving, say, a cork or a piece of sugar, a distance of

only one short inch. Let him practise for a twelvemonth to begin with,

and I will guarantee that at the end of that period he is no nearer

the consummation of the feat than he was at the commencement. If time

hangs heavily on his hands, let him go on practising, say, for five

or ten years: the result will be precisely similar. No; conjuring is

based upon more deceptive principles than mere rapidity of movement,

although that, of course, enters largely into its composition.

Articles are, indeed, transmitted from one place to another before

the eyes of the audience, but it is always, as it were, _sub rosa_.

This is the reason why conjurors say so much about the hand being

quicker than the eye, &c. The audience is continually trying to

detect movements which are never even attempted, the result being

that other movements are conducted with impunity. The conjuror must

start with the one principle firmly fixed in his mind that he is to

deceive his audience in every way possible. At no time is he actually

to do that which he says he is doing. Every look and gesture, besides

every word, should tend to lead the mind into the wrong groove.

MISDIRECTION is the grand basis of the conjuror's actions;

and the more natural the performer's movements in this particular,

the more complete will be his success. With each trick that requires

it, I shall give hints for misdirecting the spectator's attention,

although I am of opinion that every conjuror can best suit himself if

he is only firmly impressed with the necessity for misdirection. The

drawing-room conjuror must hold himself prepared to perform offhand

with any article that may happen to present itself to view; although

it is, of course, perfectly allowable for him to send for anything he

may require. An article which one is tolerably certain to find in most

houses is

_Sugar._--Take four well-shaped pieces, of a medium size, and place

them before you on a table, at which you will sit at your ease, in the

form of a square, and about a foot from each other. Hatch up a long

rigmarole about one piece being the Emperor of Japan, another his

wife, another his daughter, and another his prime minister, or any

other rubbish you please, so long as you bring it about that it is

necessary that all four should assemble together in one place. In the

country of which you are speaking, you will explain, it is the custom

of Royalty to travel by telegraph, and invisible to the gaze of the

"common herd." To illustrate how it is done, you will cover two of

the four pieces, each with a separate hand, and, at the word "pass,"

make a slight movement as if throwing a piece from one hand to the

other. On raising the hands, two pieces will be found under one, and

none under the other. Repeat this operation (the minority always going

over to the majority) until all four pieces are collected under one

hand. The explanation of this really pretty, and, to the uninitiated,

inexplicable trick, is, that you have a fifth piece of sugar palmed.

If this piece be released, and that under the other hand palmed, the

effect is the same as if an invisible journey had really been made.

Supposing the five pieces of sugar to be represented by numerals, the

various changes may be thus tabulated:

_Left Hand._ _Right Hand._

1.--Raise 1 and Drop 5 with 2.

2.--Drop 1 with 5 and 2 and Raise 3.

3.--Raise 4 and Drop 3 with 1, 5, and 2.

4.--Raise both hands and pocket 4.

The rough and adhesive nature of sugar renders it very easy to palm.

In palming, avoid all contraction of the muscles of the back of the

hand, which is visible to the audience, or a clue to the solution of

the trick will be given. If going out to a place where you are likely

to be asked to exhibit your skill, be provided with a piece of sugar,

and then ask for the requisite four pieces. If you are unprovided,

then you must secure possession of the sugar basin, and secrete the

extra piece as best you can. The extreme simplicity of this trick is

only equalled by the astonishment of the audience, who are straining

their eyes to catch a glimpse of the piece of sugar as it passes. I

need hardly remark that they never succeed.

[Illustration: FIG. 19.]

[Illustration: FIG. 20.]

_Knives_, I think I may say, are also tolerably common articles, and

some good tricks are performed with them. Take a cheese knife and four

tiny squares of paper. Stand facing your audience, however small it

may be, and, wetting the papers separately, stick two on each side of

the blade, taking care that the positions on both sides correspond

as nearly as possible. Hold the knife before you in the fingers of

the right hand (Fig. 19), and in such a position that only one side

of the blade is visible. With the thumb and finger of the left hand

remove the piece of paper nearest the handle, and, putting your hand

behind your back, make a feint of throwing it away, without actually

doing so. Now, with a rapid movement, cause the knife to describe a

half circle in the air _still with the same side uppermost_; but the

position of the hand will be slightly altered (Fig. 20), which will

lead the audience to think that the knife has been actually turned

over. Barely before the movement is completed a finger of the left

hand must be upon the spot recently occupied by the piece of paper, as

if taking off a second piece from the opposite side. The first piece,

which has all the time been in the left hand, is thus made to do duty

twice. The second time, it is dropped on the floor in full view of the

audience, accompanied by the remark, "that makes the second piece."

Now remove the other piece of paper, and repeat the manoeuvre

executed with the first piece, taking the greatest care that only one

side of the blade is visible, and that the finger of the left hand,

with the concealed paper, is down upon the vacant spot before the

spectators' eyes can rest there. Having ostensibly removed the fourth

and last piece of paper, the knife is supposed to be empty, which you

boldly declare to be the case, making a rapid backward and forward

movement with the blank side to prove it. You then say you will cause

the papers to re-appear upon the knife instantaneously. All you have

to do is to put your hand behind your back and reverse the position of

the knife so that the side of the blade with the two pieces of paper

still remaining upon it is uppermost. Bringing the knife again to the

front, make another quick backward and forward movement, saying, "Here

are the papers back again on both sides as before," and then, without

any further preliminaries, draw the blade through the fingers and

cause the two papers to fall upon the floor. If this final movement

is not executed, the audience will, when they have recovered their

senses, point to the two papers which you dropped on the floor during

the performance of the trick, and want to know why they are there and

not on the knife. Continued rapidity of motion is what is required

for the success of this trick. There must be no halting in the middle

or hesitation of any kind, to avoid which practice in private will be

essential, as, indeed, it will be with every trick worth doing at all.

Borrow a _light_ penknife, and take care that it is not too sharp, and

has a good deep notch at the haft. You are previously prepared with

about two feet of very fine black silk, one end of which is attached

to a button of your vest, the other end being furnished with a loop

large enough to pass over a finger. This can either be wound round the

button, or can hang loosely, with the free end looped up. I prefer

the latter method, and have never found it lead to any inconvenience,

which at first sight it appears extremely likely to do. Also borrow a

hock or champagne bottle; pint size preferred. First send round the

knife to be examined, and, whilst the examination is going on, get

the loop of the silk over the end of one of the fingers of the left

hand. When the knife is returned to you, and not before, give the

bottle to be examined, and distract the attention of the audience by

allusions to the "departed spirits" of the bottle, and admonitions to

be sure and see that the bottom does not take out. By the time the

bottle comes back you have slipped the loop over the blade of the

knife and allowed it to catch in the notch, where cause it to remain.

If the knife is a sharp one, extra caution must be observed, or the

silk will be severed. This actually happened to me on one occasion,

so I speak from direful experience. By sending the bottle away to be

cleaned, I gained sufficient time to tie another loop in the silk, and

went on as usual; but the incident was not a particularly cheerful one

taken altogether--there was too much "glorious uncertainty" about it.

Take the knife upside down, _i.e._, with the sharp edge of the blade

uppermost, between the finger and thumb, hold the silk sufficiently

taut to keep the loop in position by means of the other fingers,

and drop the whole into the bottle. This must not be done with the

bottle in a perpendicular position (in which case the loop will

probably either break or slip off the knife), but with it inclined

at an angle of about 45 deg. (Fig. 21). This will allow the knife

to slide down at a safe speed and yet reach the bottom with a good

"thud." Having satisfied yourself that everything is in order, hold

the bottle perpendicularly in the left hand between the audience and

yourself, and about breast high. Make use of any cabalistic nonsense

you please, and then cause the knife to rise from the bottle by the

action of moving it from you and towards the audience. The action of

raising the bottle must be but sparsely indulged in, if at all, as it

is easily noticed; not so the horizontal motion. When brought to the

mouth of the bottle the knife quietly topples over on to the floor,

whence allow it to be picked up by a spectator, who will not require

much admonition to examine it. Also send the bottle round again;

and get rid of the silk as soon as you can after the trick is done.

It will be noticed that I have directed the performer to use a hock

or champagne bottle. The reason for this will be obvious after once

trying the experiment with a bottle having an abrupt shoulder, such

as an ale bottle. The knife catches in it, and a vigorous jerk, which

is as likely to cause a breakage as anything else, has to be resorted

to to free it. The sides of hock and champagne bottles presenting an

even surface the whole way up, that class of bottle is therefore to be

preferred. By means of the foregoing three tricks I have seen a room

full of intelligent people utterly bewildered.

[Illustration: FIG. 21]

The following trick I have never known to be discovered if only

properly performed. For it you will require another exceedingly common

object, viz.:

_Cotton._--Take a piece of any colour, 12in. to 15in. long, and see

that one of the audience is provided with a very sharp penknife.

Double the cotton once, and have the bend cut quite through. Double

again and have it cut, and repeat the operation until it is nothing

but pieces, each barely a third of an inch long. Rub the pieces

together in the fingers, and, after a short time, quietly draw out

the cotton again as it was in the first instance. That is what you

must ostensibly do: now for how to do it. First of all, have concealed

between your finger and thumb a piece of cotton about the length

above mentioned. This you must roll up small, and deliberately hold

between your finger and thumb, or, better still, if the fingers be

sufficiently large, between the tips of any two fingers, as they are

more naturally kept together. Nobody will notice it if the hand is

engaged in negligently holding the lappel of your coat, the wand, &c.

I need hardly mention that the concealed piece must be of the same

colour as that operated upon, as the production of a white in place of

a black piece would scarcely be satisfactory. To ensure the success of

this preliminary, some considerable manoeuvring has often to be gone

through, and no small amount of tact exhibited. Where you are showing

the trick for the first time, you can of course ask for any coloured

cotton you please (always choose black when you have a choice),

but it is such a fascinating trick that you will be called upon to

perform it over and over again in the same house, or before the same

people--which is quite as bad--and you will find that all kinds of

ingenious devices will be brought to bear upon you. As a commencement,

always carry in the corners of your waistcoat pockets two black and

two white pieces, ready for emergencies. Each pocket will contain

two pieces of the same colour, but differing in thickness, one in

each corner. It is useless to carry other colours on the mere chance,

as you are sure to be unprovided with the exact one required at the

moment. When coloured cotton is produced, you must, by some means

or other, get at the reel from which the cotton is taken. If driven

right into a corner, you must go so far as to ask someone (always

let it be the master or mistress of the house) to secretly obtain a

piece for you; but this you will have to resort to on rare occasions

only. Make all sorts of excuses so as to cause a delay, even going so

far as to postpone the performance of the trick, but not before you

have seen what colour you are likely to be favoured with. Your wits

must do the rest. The reader must remember that I have taken extreme

cases, and such as but rarely occur; but still they _do_ occur, and

if I did not warn the beginner of pitfalls ahead, he would not think

much of my teaching. In the ordinary way, he will be able to ask for

any colour he pleases, which will of course be similar to that with

which he is provided. We will suppose that everything has progressed

favourably. Take the cotton to be cut between the thumb and forefinger

of each hand, by the extreme ends, and, doubling it, let one hand

hold the loop to be cut, the fingers of the other hand holding the

ends. As soon as the knife has passed through the cotton, give it a

"twitch," and bring the ends, of which there will now be four, quickly

together, as if you had performed some very intricate manoeuvre. Of

course, you have really done nothing at all, the movement being only

a deceptive one to lead the spectators to believe that the secret of

the trick consists in the way in which you twist or double the cotton.

Have this in mind all through the trick, and keep up the deception.

Continue to double the cotton, taking the greatest care that the ends

all come neatly together, and that all the loops are cut through.

Do everything with the greatest deliberation (except the delusive

"twitch"), for there is no occasion for any hurry. When the cotton is

cut so small that it will not double any more, commence to knead in

the fingers, and gradually work the fragments behind the concealed

piece, which must be brought to the front. This you will do without

once removing the hands from the full view of the audience--in fact,

under their very eyes. When you feel quite sure that everything is

snug and secure, commence to unravel the whole piece, which will pass

for the resuscitated original.

People who have seen the trick performed before will sometimes suggest

that the piece of cotton should be measured before being cut up.

Allow this to be done with all the grace in the world (when you find

that you cannot do otherwise), but, before operating upon it, roll

it up in the fingers, either absently, whilst engaging the audience

in conversation, or for the purpose of seeing if it is of the proper

dimensions, and exchange it, unperceived, for the concealed piece,

which will be cut up instead. Although it is not advisable to have the

cotton measured first, yet, when it is done, it invariably adds lustre

to the feat. The pieces must never be carelessly thrown away, but

secreted in a pocket on the first opportunity that presents itself,

and afterwards burnt.

[Illustration: FIG. 22.]

_Rings_ can be made use of in many tricks, both in the drawing-room

and on the stage. The following will be found very neat and effective:

Procure a metal imitation of a wedding-ring, and have it cut neatly

through. Pass this ring under a single thread of your handkerchief

near one of the corners. Borrow a lady's ring, which palm, under

pretence of putting it in the handkerchief. (The best method for

palming a ring is to hold it between two fingers at the roots.) This

you will appear to have done if you give the false ring (under cover

of the handkerchief) to be held by someone who is not the owner of

the borrowed article. It is immaterial whether the genuine ring has

a fancy head or not, as the back of it will usually be about the

width of a wedding-ring. Take the wand in the hand, and, unperceived,

slip the ring in your palm over it until it reaches the middle,

still covered by the hand. Now ask two persons to hold the wand, one

at either end, and lay the handkerchief containing the false ring

(still held from the outside by the original holder) over it. If

you now remove your hand, you will leave the ring on the wand still

concealed by the handkerchief (Fig. 22). Take hold of the end of

the handkerchief which hangs down below the wand, and instruct the

person holding the false ring to leave go when you count "three." As

soon as you are obeyed, draw the handkerchief smartly across the

wand. This will cause the ring to spin round, and assist materially in

inducing the audience to believe that it was actually conjured from

the handkerchief on to the wand whilst the latter article was being

held at either end by two people. A slight jerk will detach the false

ring from the handkerchief, which you can send round to be examined.

A hint I can give the learner is, never to ask a lady to lend you her

wedding-ring or keeper. Many ladies are exceedingly superstitious, and

feel embarrassed when asked, from not liking to refuse, and yet being

unwilling to take their rings from their fingers. Always borrow a ring

the back of which nearly, if not quite, matches your false article in

substance.

Procure a metal ring, similar to the one used in the last trick, of

very soft brass, and, when you have cut it through, sharpen up the

two ends to points with a file, or any other way you please. Borrow

a lady's ring, and exchange it, as in last trick, putting the false

one in a handkerchief, which have tied with tape or string in such a

manner that the ring is contained in a bag. If the borrowed ring is

narrow all round, you may make use of your nest of boxes (described

in trick _g_, Chapter II.), if it has not been previously utilised

in some other trick; it being a golden rule among conjurors never to

use the same apparatus twice during the same evening. An apple (a

potato, small loaf, &c., will do as well) can be used instead with

effect, if a goodly slit be made in it, and the ring pushed in while

you are taking it from your bag or from behind the screen. Show the

apple round, boldly saying that everyone can see that there is no

preparation about it, at the same time taking care that no one has

time to decide either one way or the other from the rapidity with

which you pass it about. Place it in a prominent position, and then

take the handkerchief containing the false ring by the bag, allowing

the ends to fall over and conceal your hands. Quickly unbend the

ring, and, working one of the pointed ends through the handkerchief,

draw it out, and _rub the place of exit between your fingers, so as

to obliterate all traces of it_. All this you must do very quickly,

and, dropping the handkerchief on the floor, say, "Without untying

the string, I have abstracted the ring, which I now pass into that

apple." Here make a pass. Take a knife in the hand holding the false

ring (unless you have been clever enough to get rid of that article),

and, showing the audience that the other hand is quite empty, proceed

to cut open the apple slowly. When the knife touches the ring, allow

it to "clink" upon it as much as possible, and call attention to the

fact, as it is a great feature in the trick. Do not cut the apple

completely through, but, taking it forward (on a plate is the best

way), allow the owner of the ring to take it out with her own hand.

Of course, the audience must not be allowed to handle the apple, and

so discover the old slit. This trick should not be performed with

the preceding one, but on another evening. The principal effect of

the trick is the apparent abstraction of the borrowed ring from its

confinement in the handkerchief in an incomprehensible manner, and you

must, therefore, allow the audience to see that the ring undoubtedly

_is_ tied up securely in the first instance.

Another trick with a ring is performed by aid of the wand only.

Borrow a good stout ring, a signet for example, and, holding it near

the roots of the fingers of the right hand, pretend to pass it over

the wand, but, in reality, let it slide along on the outside of it,

and still keep it in the hand. The deception is assisted if the ring

be first carelessly placed upon the wand, and taken off again, two

or three times. Say to one of the audience, "Will you be so kind as

to hold one end of the wand with either hand?" and, in stretching

the wand out towards him, allow the left hand momentarily to pass

close under the right, and let the ring fall into it--of course,

unperceived. If you look at your hands whilst doing this, you are a

lost man. You must look the addressee boldly in the face, and thereby

divert attention to him--not that there is the slightest excuse for

exposing the ring during its passage from one hand to the other. When

the wand is firmly held at both ends, say something about the futility

of strength in certain cases, and eventually show the ring in the left

hand, and remove the right from the wand to show that it is empty.

If relinquished at this stage, the trick is very incomplete, as the

audience usually divine, or affect to divine, that the ring never was

put upon the wand at all. It is a peculiarity of this trick that this

remark is almost invariably made, so the conjuror must be prepared

with something still more "staggering." Return the ring to its owner,

and call attention to the fact that you have not cut it in any way

(not that anyone will ever think that you would do so, but you must

assume that this idea is prevailing in the minds of the audience),

and secretly take from your pocket, or wherever it may be concealed,

a thick metal (or gold) ring, which keep in the left hand. Borrow

the ring again, and slide it over the wand with precisely the same

movement which you used in the first instance, when you did _not_ put

the ring on. This time you must appear to be very clumsy, and let the

two hands come together so that everyone can see the action clearly,

and snatch the left hand away sharply as if it contained the ring.

You will doubtless see a number of heads lean towards each other, and

hear a good deal of loud whispering, in which the words "left hand"

will be conspicuous. Take no notice of this beyond looking as confused

as possible, and the audience will think they have bowled you out

at last. The strange part of it is that, in a trick of this kind, a

spectator who fancies, rightly or wrongly, that he has discovered

something, never attributes the fact to your want of skill, but to

his own remarkable powers of perception. The effect of the ruse

will be heightened if you allow a tiny portion of the false ring to

catch the eye of one or more of the audience; or resort to any other

artifice to induce them to believe that you really have the borrowed

ring in the left hand, and have allowed the fact to transpire through

carelessness. Now say that, the ring being securely on the wand, you

mean to take it off as before, and give the two ends of the wand to be

held. You will then appear to notice the incredulous looks and remarks

of the audience for the first time, and stoutly deny that the ring

is in the left hand, which, however, you decline to open. Allow the

audience to argue the point with you, and, when one has said that he

saw you take the ring in the left hand, and others have made a similar

statement, pretend to give in, and say that you must admit that you

are discovered; but, at the same time, you feel it incumbent on you

to do something to retrieve your character. You will, therefore, pass

the ring, now in the left hand, invisibly on to the wand. Make a pass

with the left hand, and draw the right smartly away from the wand,

causing the ring on it to spin round. The effect may be imagined. At

the instant the right hand leaves the wand, the left should place

the false ring (supposing one is used) in the pocket, as all manner

of questions will be asked afterwards. The trick can be varied in

many ways, by confusing the spectators. Peripatetic conjurors make a

good deal of money by means of this trick, by betting that the ring

is either on or off the wand. Manner has a great deal to do with the

success of it.

CHAPTER IV.

TRICKS WITH CUPS AND BALLS.

THE CUPS--THE BALLS--HOW TO CONCEAL A BALL--HOW TO SLIP

A BALL UNDER A CUP UNPERCEIVED--HOW TO VANISH A BALL:

PHASE ONE, PHASE TWO, PHASE THREE--THE MANUFACTORY--HOW TO

INTRODUCE LARGE OBJECTS BENEATH THE CUPS--BAG FOR HOLDING

ARTICLES--HINTS--TALK FOR THE TRICK.

[Illustration: FIG. 23.]

The variety of tricks performed with the aid of cups and balls take a

prominent position in the repertory of every conjuror laying claim to

any proficiency in pure sleight of hand. Three tin cups (or, rather,

as they are always used in an inverted position, covers), rather more

than 4in. in height, and some 3in. across the mouth, with the bottom

concave, and two or three little rings near the mouth (Fig. 23) will

be required. Also make, to commence with, four cork balls, blackened,

either by burning or by colouration, each about the size of an

ordinary bullet. The audience know of the existence of three balls

only, the fourth being concealed by the conjuror between the roots of

the third and middle fingers. The very first thing the learner must

acquire is the knack of slipping the ball rapidly from the exposed

(Fig. 24) to the concealed position (Fig. 25) in a secure manner.

The ball is partly slid, partly rolled, partly dropped into the

position, the thumb, with a slight motion, which, in time, will become

quite an unconscious one, pressing it finally home.

[Illustration: FIG. 24.]

[Illustration: FIG. 25.]

The action, which must be accompanied by the backward and forward

swing used when palming coins, must be practised with both hands,

the more awkward hand of the two being taught first. When tolerably

perfect in this, practise getting the ball down to the tips of the

fingers at the roots of which it is held, care being of course taken

that no portion of it protrudes. The object of getting the ball

into this position is, that it may be placed under any cup, raised

ostensibly for some other purpose, without detection. As the cup is

placed on the table, the ball held in the fingers is slid quietly

under it. All conjurors do not use this method, some grasping the cup

as low down as possible, and jerking it up and down, thus getting

the ball inside direct from the concealed position (Fig. 25). This

latter method is exceedingly neat, but is the more difficult one

to accomplish. However, the learner may try for himself, and adopt

the method which comes the easier to him. The ball is not taken in

the tips of the fingers until the hand is about to grasp the cup,

the major motion shielding the minor one. With the two movements

described under his control, the learner should proceed thus: Place

the three cups in a row, with a ball in front (_i.e._, towards the

audience) of each, and explain that the cups are solid tin and are not

provided with permeable bottoms. There is no objection to allowing

an examination to be made, but it had better take place at the end

of the trick, or much time will be wasted. Say that the tin cups are

for the purpose of covering the balls, and place one cup over each

to illustrate it. Now take up cup No. 1, and, whilst placing it down

a few inches off, slip the concealed ball under it. Pick up ball No.

1, and vanish it by concealing it in the prescribed method (Fig. 25).

You can pretend to throw it into the air, or affect to put it into

the other hand (see Coins, Fig. 7), from which it will be "passed"

by a rap from the wand, which article you will find a true friend

when performing with the cups and balls, and which should be held in

readiness under the arm. Repeat the operation with cups No. 2 and No.

3, each having a ball placed under it when shifted. Tell the audience

that so well trained are the little balls, that, at your word of

command, they will return from their invisible wanderings to their

imprisonment beneath the cups, which you will then raise, and show the

balls beneath. This is the first and simple phase.

In the next, cup No. 1 is placed over a ball, and the concealed one

slipped in with it. Take up another ball, and pretend to "pass" it

through the cup, which raise, showing two balls together, and then

replace, slipping concealed ball under along with the other two; and

then "pass" the third ball through, which will bring all three balls

under one cup. On putting cup No. 1 down, after exhibiting the three

balls together, slip concealed ball under it, and pick up one of the

three, which vanish. Then say it is as easy for you to abstract a ball

from beneath a cup as it is for you to pass it to the inside. Put cup

No. 2 over the two balls, and pretend to take one out by means of the

wand, the concealed ball being exhibited as the one thus abstracted.

"Pass" this through cup No. 1, which raise, showing the ball already

there, and, on replacing it, slip under concealed ball. Recall the

ball you vanished previously, and show it under cup No. 1, and then

"pass" it back to cup No. 2, where the two balls still are; slip

concealed ball under, and then "pass" ball from cup No. 1 to cup No.

2. The ball "passed" must in each instance be picked up and vanished,

and not merely told to pass from one cup to another. The changes can

be kept up for a long time if a ball be slipped under a cup whenever

it is raised; but the performer must keep his head clear, or he will

find himself getting into trouble by showing four balls at the same

time.

Phase 3 consists of piling the three cups one over the other, and

passing the balls into what I may term the storeys thus formed. It

is for this phase that the bottoms of the cups are made concave to

receive the ball. If the bottom were flat, the ball would roll off at

an awkward moment. Place cup No. 1, with concealed ball underneath,

on the table, and, taking up a ball, "pass" it through. Put cup No. 2

over cup No. 1, concealed ball being sandwiched between the bottoms

of the two. The slipping of a ball beneath a cup which is placed

on the table is a very simple matter, but it requires considerable

adroitness to slip one cleanly between two cups. It is only to be done

with a sharp jerk, the ball being thus sent to the top of the cup,

which is then rapidly placed over the other. Considerable practice

will be required to attain this knack, but the pretty effect well

repays any trouble. Even when taking the greatest care, the ball is

very liable to become jammed between the sides of the cups instead

of their bottoms. The noise made by the rattling of the ball in the

cup is covered by that occasioned by one cup being placed over the

other. Repeat the operation with the third cup, and then show the

balls in their respective positions. Should a cup cant over to one

side, it will be because the ball beneath, it is not in its place,

but is jammed in between the two sides of the cups. In this case, care

must be taken in removing the uppermost cup. If adroitly managed, the

errant ball can be brought back to its proper position on the top of

the lower cup by the action of withdrawing the upper one. This should

be practised in private, so that the emergency may be met without

difficulty when it occurs.

The fourth phase consists in apparently manufacturing an inexhaustible

quantity of balls beneath the cups. This is very easily managed by

first covering each of the three balls with a cup openly. Take up cup

No. 1, and put it down again a few inches off, with the concealed ball

under it. Pick up ball No. 1, and pretend to put it in your pocket,

but conceal it in the fingers; take up cup No. 2, and replace it,

with concealed ball beneath it, and affect to put ball No. 2 into the

pocket, but conceal as before. Repeat operation with cup and ball No.

3, and then recommence with cup No. 1. This phase can be prolonged at

will. A number of balls can be carried in the pocket, and afterwards

exhibited as the ones you have manufactured; but this is by no means

necessary to the success of the trick.

A most startling and amusing conclusion to a display with the cups

and balls is the introduction of large balls, potatoes, oranges,

lemons, apples, &c., beneath the cups. Care must be taken that these

larger articles will go into the cups easily, or a _fiasco_ may

result. The best balls are those made of fancy paper, as they are

nice and light. A convenient place for keeping them ready for use is

a shallow, oblong, open bag, made out of black silk or alpaca, and

furnished with a bent pin at each end, and one in the middle. This

bag you can affix to the tablecloth behind the table. In the absence

of such a receptacle, the tablecloth can be pinned up, and so form an

impromptu one; but this can hardly be arranged unperceived in front

of an audience. In the absence of both cloth and bag, the articles to

be conveyed inside the cups must be kept under the waistcoat, or in

the pockets, but, in this case, the pockets must be side ones, and

easily got at. The moment for introducing the large ball, orange, &c.,

into a cup is when the eyes of the audience are attracted towards any

object just revealed to them. The orange, &c., must be taken by the

left hand from its place of concealment whilst the right is engaged

with the cup; and the instant the latter is raised, for the purpose of

showing whatever may be under, it must be passed briskly--at the same

time, in a manner not too marked--to the left hand, and the article

slipped inside. The hands must remain together only sufficiently long

to permit the completion of the manoeuvre, when the cup must be

again held by the right hand only; the article inside being prevented

from falling by having the little finger placed beneath it. Sometimes,

I press the paper balls lightly into the cup, and am so enabled to

hold the cup by the top, and to raise it from the table, to show that

there is nothing under it. By bringing the cup down hard on the table,

the ball will become disengaged. This method should only be used as

a change. Supposing that you have an orange inside cup No. 1, place

it gently and unconcernedly on the table whilst drawing attention, by

means of your tongue, to cup No. 2. By the time cup No. 2 is raised,

the left hand will contain, say, an apple, which will go inside the

cup, and public attention drawn to cup No. 3, which, in its turn,

will be raised, and tenanted with a potato. You can now either knock

over all three cups, and reveal their contents, which has a very good

effect, or continue the manufactory as with the cork balls, pretending

to put the potatoes, oranges, &c., into the pocket. It will be only

necessary to have one of each kind of article, although the audience

will be led to believe that your pockets are crammed with them by the

time you have finished. It is best to have four kinds, as by that

means each cup has something different under it every time it is

raised. It is not advisable, however, to fill the cups more than twice

by this method. The performer must not have his head filled with the

idea that his movements are noticed, for the eyes of the spectators

are sure to be riveted on the article last revealed. Any hesitation

will be attended with disastrous results, so the thing must be done

with dash, or not at all. Every conjuror should endeavour to become

perfect with the cups and balls, as they not only amuse and astonish

audiences, but afford great practice to the learner.

One very important thing in connection with this trick is the talk

with which it is accompanied. The performer should be talking the

whole time, explaining everything as he goes on; at the same time, he

must not talk a lot of nonsense, which will only cause the audience

to form a low estimate of his prestidigitatorial powers, but infuse

his harangue with a little very mild humour. Something like the

following, varied to suit the circumstances, will be to the point: "I

have here three little tin cups, solid, and free from any trickery

or deception, as you may see for yourselves." (Hand cups round.)

"Kindly see that the bottoms do not take out. I have also three little

cork balls, equally guileless with the cups. Madam, will you be so

good as to squeeze one, and see that it is solid?" (Give a ball to a

lady.) "Thank you. These little balls, ladies and gentlemen, are, you

will be interested to hear, trained to a high degree of perfection,

and are perfectly obedient to my will, as I will shortly show you.

This cup, which you will perceive is perfectly empty, I place here

on the table, and, taking up one of the balls, I simply say to it,

'Hey, presto! begone!' and it has vanished. The second little ball I

take from beneath this cup, and command it to keep company with its

predecessor. 'Fly!' and it has gone. The remaining ball I treat in the

same manner. By the aid of my magic wand, I recall my little servants.

See, here comes one, and, following my wand, it passes through into

this cup" (tap a cup with the wand), &c., &c. It will be as well for

the conjuror to study what he intends saying beforehand, in the early

stages of his career, for he will find his wits sufficiently troubled

to execute his tricks properly without requiring to think about his

language.

A little sleight, which may be introduced with effect, is the apparent

throwing of one cup through the other. This illusion is effected

by holding a cup, mouth upwards, lightly between the thumb and

forefinger. The other hand then throws a second cup sharply into it.

The lower cup is allowed to fall, and the second cup caught by the

thumb and forefinger, the appearance being that one cup has passed

completely through the other.

CHAPTER V.

TRICKS WITH HANDKERCHIEFS.

BURNING A HANDKERCHIEF IN A SMALL WAY--HINTS ABOUT

APPARATUS--HOW TO PULL A HANDKERCHIEF THROUGH THE LEG--THE

KNOT UNTIED BY MAGIC--THE CONFECTIONER HANDKERCHIEF--FEATS

WITH HANDKERCHIEFS.

What conjurors would do without pocket handkerchiefs, I will not

venture to suggest. Almost every trick has a handkerchief of some kind

as a component part. Handkerchiefs are torn up, burnt up, tied into

knots, made receptacles for money, and used in a variety of other

ways; in fact, they are the conjuror's most faithful allies.

_Burning a Handkerchief_ is usually made a stage trick, and belongs

properly to Grand Magic; but there is a method which may be

successfully tried in the confined limits of the drawing-room. I do

not allude to the use of the "burning globe," which article entirely

dispenses with the necessity for the display of anything approaching

sleight of hand, with which I, in this book, have only to deal. By

using mechanical tricks, many feats of sleight of hand are imitated;

but then the apparatus cannot be shown round, and the audience goes

away from the performance impressed with the idea that conjuring means

exhibiting a certain number of cunningly-devised boxes, canisters,

&c. I remember being present at an amateur conjuring entertainment,

where tricks were exhibited that must have cost two hundred pounds,

at least. The eye was perfectly bewildered with the array of electric

clocks, drums, &c.; but every third trick failed at some point, which

was not to be wondered at, seeing that the thing was got through as

though against time. This sort of thing is not conjuring; although it

would be bad for conjuring-trick manufacturers if everyone thought

the same. Some apparatus one _must_ have; but only what is absolutely

necessary. The difference between an apparatus conjuror and an adept

at sleight of hand is as great as that between an organ-grinder and a

skilled musician.

To burn a handkerchief in what I may term a small way, be provided

with a piece of cambric, or other material resembling a handkerchief,

about four inches square. The best way is to cut up a cheap

handkerchief that has been hemmed. Have this piece rolled up in

the hand, and concealed by the act of holding the wand. Borrow a

handkerchief, which carelessly roll up in the hands, as if judging as

to its size, and get the piece mingled in its folds. Ask the owner

if he or she has any objection to your burning the end of it. Say

"Thank you," whether the answer be "Yes" or "No" (conjurors are often

afflicted with a convenient hardness of hearing), and proceed at once

to burn what is, in reality, your interpolated piece, but which will

appear to the audience to be the handkerchief, at a candle. When

you have burnt a tolerably large hole, put out the flame, and walk

towards the owner of the handkerchief, as if about to return it to

him, thanking him, at the same time, for the loan of it. If you had

not permission to burn the handkerchief, the owner of it will probably

now tell you so; and if he is at all testy on the point, so much the

better for the success of your trick. Say that you really thought he

said "Yes," are sorry for the mistake, which, however, cannot now be

helped, &c. If, on the other hand, you had permission to do as you

pleased, which a flattering, implicit faith in your abilities will

frequently accord to you, you must affect to see in the person's looks

an objection to take the handkerchief in a burnt state, and so, in

either case, eventually set yourself the task of having to restore

the injured article. This you can very simply do by rubbing it in

your hands, and concealing the fictitious piece rolled up in the

palm; or you can prolong the operation by folding the handkerchief

in a piece of paper, omitting the burnt piece, and then pronouncing

some cabalistic words over it, whilst it is held by someone in the

audience. This is, perhaps, the better way of the two. If the beginner

is afraid to trust to his own skill, and prefers using apparatus, he

can procure many kinds of canisters, &c., for changing handkerchiefs,

the working of which will be explained by the vendor, so there is no

necessity to do so here.

_To Pull a Handkerchief through the Leg._--This is a trick which will

bear exhibition in any company. It recommends itself especially for

drawing-room purposes. Take a very long handkerchief, and, seating

yourself, pass the handkerchief (apparently) twice round the leg, just

above the knee, and tie the two ends securely together, or have them

tied for you. Take hold of a single thickness of the handkerchief,

and jerk it sharply upwards, when it will appear to pass through the

leg. The secret of the trick is thus explained: When you pass the ends

below the leg, for the purpose of ostensibly crossing them, so as to

bring them up on opposite sides, you rapidly make a bend in one, and

pass the other firmly round it. By this means, a temporary junction is

formed strong enough to bear a slight strain. By distending the sinews

of the leg, the folds are compressed, and additional security is thus

obtained. The ends are of course brought up again on the sides on

which they descended, and the knot tied above the thigh--not beneath

it. The formation of the bend and loop round it must be practised

assiduously, for I do not know of any trick of the same magnitude

requiring more skill in execution than this one. The hands should

not remain an instant longer under the leg than one would require to

merely cross the ends, and there must be no fidgeting observable. For

performing this trick, Döbler (the original one) received a diamond

ring from the Emperor of Russia.

_To Untie a Knot by Word of Command._--Tie a knot with two ends of

a handkerchief, but in such a manner that one end is always quite

straight; in fact, one end should be tied _round_ the other, and

not the two ends tied together. If you take the extreme end of the

straight portion, anyone may pull as hard as he likes at it from the

other side of the knot without making it any tighter, although you

must lead him to believe that he is doing so. When he has pulled to

his heart's content, take the knot in one hand and cover it with the

rest of the handkerchief. Whilst doing so, work, with the concealed

hand, the straight end through the folds of the other, but do not

destroy the folds, which give to be held, of course under cover of

the handkerchief. Command the knot to come undone, and then shake

the handkerchief out. This is the groundwork of a trick on a much

larger scale, which will be treated of in Grand Magic. It is a very

effective little trick, and should never be despised.

_To Find Sweetmeats in a Handkerchief._--For this pretty trick the

performer will require a conical bag, made of fine calico, cambric,

or any other substance resembling a handkerchief. The length of the

bag should be about 5in.; and it must be furnished at the apex with

a bent pin--a black one. The mouth must be fitted with two pieces of

flat watch or crinoline spring, sewn in the stuff in such a manner as

to keep the opening closed. This bag must be filled with sweets, and

suspended, by means of the bent pin, on the edge of the table--out of

view of the audience, as a matter of course. Borrow a handkerchief,

and say that you will now find something that will please the juvenile

portion of the audience. Wave the handkerchief mysteriously about, and

then spread it out upon the table. Wave your hands over it, take it

up delicately by the centre with one hand, and squeeze it with the

other over a plate with which you will be provided. Naturally, nothing

will come of it, so you repeat the operation, this time at a different

part of the table. At the third or fourth attempt, the handkerchief

should hang over that portion of the table where the bag is suspended,

and when it is raised the bent pin should be included in the grasp.

On squeezing the handkerchief this time, the hand should compress the

ends of the springs, which will open, and allow the sweets to escape

and fall upon the plate with a great clatter. Do not empty the bag at

once, but give it two or three squeezes, allowing a little to fall

out each time, which will greatly heighten the effect. When the bag

is empty, the next thing to do is to remove it from the handkerchief.

If a chair is handy, the bag can be dropped on it; but the best way

is to boldly introduce the hand beneath the handkerchief, and, whilst

calling attention to the sweets, hang it again on the edge of the

table, which can easily be managed behind the handkerchief. The sweets

used should be small round or oval ones, they being best suited for

the purpose.

There are many little feats performed with handkerchiefs hardly

deserving the title of tricks, in the way of tying bows and knots,

&c., by entirely unorthodox methods. They are too insignificant

for performance alone; but they look very well when worked in with

more important tricks. Besides (and it cannot be too often stated),

conjurors should endeavour to know _everything_ connected with sleight

of hand. In drawing-room circles, one is continually asked if one can

do this, that, or the other; and it is quite as well to be able to

reply in the affirmative, for it always tells detrimentally to fail in

a little matter. The following feats will be found effective:

_To Lengthen a Handkerchief._--Having borrowed a handkerchief, great

amusement is caused when the performer observes that the article is

not long enough, and expresses his intention of stretching it. This

is done by taking the handkerchief by one corner in each hand, and,

whilst twisting it up, gathering an inch or two in each palm. Stretch

the arms wide apart, so that the handkerchief lies across the chest,

without allowing any of the gathered-up portions of it to escape. Now

give the handkerchief a turn or two in the air, and again stretch it

across the chest, this time allowing about half an inch to escape

out of the hands. Twist again and stretch, allowing a little more to

escape, and repeat the operation until the extreme ends are reached.

Imply by manner, as much as possible, that a deal of stretching

is taking place, and the audience will be led to believe that the

handkerchief has been extended at least six inches beyond its original

length.

_To Appear to Tie a Knob that will not Draw Tight._--This feat is

also exceedingly diverting. The performer, apparently, goes through

all the necessary formulæ for forming a knot; but, lo! when the ends

are pulled out, no knot is seen. There are three ways of doing this.

One is to pass one end behind the other, instead of through the loop,

as usual, which must apparently be done. To do this neatly, one end

must be held in each hand, the handkerchief twisted sharply up, and

the hands then brought quickly together, which will cause a coil of

about two turns to be formed. Pass the right end quickly round the

back of the left, and then draw out both, as if tightening the knot.

As you pull, the coil will bunch in the middle, as if a knot were

really there, and increased tension will pull it out quite straight.

The second method is thus performed: Lay one end of the handkerchief

across the right hand, the major portion of it being on the outside,

and the short end held down by the little finger only. With the left

hand, take the hanging end, and, bringing it round on the inside, lay

it over the other. Pass the left hand through the loop thus formed,

take with it the uppermost end, and draw it through; but, just as

you pull the two ends out straight, slip the thumb of the right hand

under the inside bend of the lower end, and hold it between the

finger and thumb. In the third method, commence by taking one end of

the handkerchief in either hand. Pass the right hand over to the left

side, in front of the left arm, which is kept perfectly still in front

of the body, so that the handkerchief hangs on the left forearm in

the shape of a loop. The second end must now be placed in the left

hand, which thus detains both for the time being. Pass the right

hand, now free, through the loop from the inside, and, reaching up

with it, let it grasp its original end just placed in the left hand,

and pull it through. This must be done with great deliberation, as

the beauty of the sleight rests in the extreme slowness with which it

can be executed, the secret lying, not in any quickness of fingers,

but in the fact that the handkerchief ends are never looped one over

the other, as would be the case if the right hand were passed through

the loop from the outside, which the learner may at once discover by

experiment. In pulling the end out, as though tying the knot, if it be

retarded by the left thumb, a more natural appearance is given. This

method is to be preferred to the foregoing, which, however, are useful

as changes.

_To Tie a Knot Instantaneously._--Take an end of the handkerchief in

either hand between the thumb and forefinger, the end in the left

hand pointing inwards, and that in the right hand outwards, the hands

being held so that their backs are towards the company, the thumbs on

top and the little fingers below. Open the fingers of each hand at

the first and middle fingers, and then bring the hands together until

they overlap a couple of inches, the right hand on the outside. This

will bring the end of the handkerchief in either hand between the

opened fingers of the opposite one. The fingers close on the ends,

and the hands are at once separated, when the knot will be found to

be tied. This may be first practised with a piece of stout string,

and the learner must not be satisfied until he can tie the knot by

merely bringing the fingers together for an instant, the knot being

tied apparently by means of the mere collision of the two hands. It is

astonishing what perfection can be attained by means of practice, the

knot at last seeming to appear on the handkerchief, instead of being

tied.

_To Tie a Knot on the Wrist whilst Holding an End of the Handkerchief

in either Hand._--Jerk the right hand towards the left one, so as to

throw a loop in the handkerchief, through which dart the left hand,

still holding its end, and the feat will be accomplished. It should be

done in a _nonchalant_ manner, and without any ostentation. Practise

first with a piece of string.

The performance of the foregoing feats will be facilitated by the use

of a silk handkerchief that is not too new, and it should always be

first twisted, rope-fashion.

CHAPTER VI.

CHINESE TRICKS.

A NEW MARBLE TRICK--FIRE-EATING--FINAL EFFECT--THE

BUTTERFLY TRICK--THE FAN--HOW TO MAKE THE BUTTERFLIES--HOW

TO KEEP THEM IN THE AIR.

_Chinese Marble Trick._--Some years ago, there came over to England a

few Chinese conjurors, who were seen by the public but very little,

but who favoured me on several occasions with private views. Their

skill lay chiefly in the performance of such delectable feats as

swallowing sword-blades, tiny china cups, glass balls, and large

leaden plummets. Although appreciating such tricks, I respectfully

declined attempting to astonish my audiences by their means. There

was, however, one little trick performed with four small marbles,

which struck me as being something quite novel and quaint. Of the

four marbles (little ivory balls are what I invariably use), one is

concealed in the fingers, as in the cup and ball trick, unknown, of

course, to the audience, who are supposed to know of the existence of

three only. These three the performer puts into his mouth--one at a

time, slowly, is the best way--to show that there is "no deception."

He now forms his left hand into a fist, and holds it steadily in front

of him, thumb upwards, as though holding a sword at rest. With the

right hand he pretends to take a marble from the mouth, the concealed

one being exhibited. The action of taking a marble from the mouth

must be imitated exactly; and this is best done by rolling it along

the lips until it travels from the roots of the fingers to their tips.

The sleight must be quickly done, for the eyes of the audience are

full upon the hand. Place the marble on the top of the left hand,

_i.e._, on the doubled-up first finger, which, after a few seconds,

open slightly, so as to allow the marble to disappear in the hand.

With the right hand actually take a marble from the mouth, which will

now contain two. Pretend to place this marble on the left hand, as

you did the first one, but in reality conceal it. When the left hand

is momentarily covered with the right, as it feigns to place a marble

upon it, open the first finger, and, with the least possible jerk,

bring the first marble again to the top. The audience will think that

marble No. 1 is in the hand and marble No. 2 atop. After another short

pause, allow the marble to again sink in the hand, thereby causing

the idea that two marbles are concealed in it, and, with the right

hand, affect to take another marble from the mouth, the concealed one

being, of course, shown. Ostensibly, place this one on the left hand

(deception as before), and allow it to disappear like its two supposed

predecessors. At this stage, the state of affairs will be thus:--The

right hand, presumably empty, contains one marble; the left hand

contains presumably three, but in reality only one marble; the mouth,

presumably empty, contains two marbles. The performer then proceeds

as follows: Allow the marble in the left hand to sink until it is in

the position for concealing at the roots of the fingers. If with the

tips of the second or third fingers it can be pressed firmly home, so

much the better, for the command to vanish can at once be given, and

the hand opened--palm downwards, of course. If the marble cannot be

secured in this way, the thumb must be brought into use in the usual

way; but the hand must be waved about a little so as to cover the

movement. The three marbles are now supposed to be _non est_. The

performer can proceed to find the first of them in whatever manner

he pleases. He may pretend to pick it from the table cloth, break it

from the end of his wand, or find it in the possession of one of the

audience; how, is quite immaterial. As each hand conceals a marble, it

is also immaterial which one is used. This first marble is placed on

the table, and another one found. This second one, instead of placing

on the table, the performer affects to pass into his ear, concealing

it as before, and after a few seconds, it appears at his lips, the

one thence protruding being, of course, one of the two concealed

in the mouth. Allow it to fall from the mouth, and then proceed to

find the third marble, which pass, say, through the top of the head.

The remaining marble in the mouth is then exhibited, and the three

wanderers are recovered. If the marbles or ivory balls are not small,

their presence in the mouth, when they are not supposed to be there,

will be discovered. I always conceal one on each side of the mouth,

between the lower gums and the cheek. Ivory balls are in every way

preferable, as they do not strike cold to the teeth, and do not rattle

much, both of which disagreeable properties are possessed by marbles.

Any ivory-turner will supply the little balls very cheaply. The

performer must study to execute this trick with the greatest possible

delicacy, or--especially before ladies--it will become repulsive. The

method of finding the balls after vanishing them should be varied,

each one being found in a different way. The portion of the trick

requiring the most practice is that in which the left hand is opened.

The knack of concealing the ball held in it unobserved requires some

little address.

_Fire-eating._--This was another trick performed remarkably well by

my Chinese. It is, I should think, one of the best-known in England,

for every country fair has its fire-eater; but it is not everyone who

knows how it is performed. In the first place, prepare some thick,

soft string, by either boiling or soaking it in a solution of nitre

(saltpetre). Take a piece, from 1in. to 2in. in length, and, after

lighting it, wrap it in a piece of tow as large as an ordinary walnut.

Conceal this piece under a heap of loose tow, the whole of which is

put on a plate, and so exhibited to the audience. The string will burn

very slowly indeed, and the very little smoke issuing from it will

be quite smothered by the tow. Show the mouth empty, and then put a

little tow into it. Commence chewing this, and, after a little time,

put in some more. Repeat this three or four times, taking the chewed

portion secretly away each time you put any fresh tow into the mouth,

and in one of the bunches include the piece containing the burning

string. Do not chew this about at all, in reality, although you will

make great gestures as if so doing. Take a fan, and fan the ears, and

presently take in a good breath at the nostrils, blowing it out at

the mouth. This will cause some smoke to be ejected, the volume of

which will increase as the breathings are kept up. Always be careful

to draw in at the nostrils, and eject at the mouth; otherwise you will

be choked. Renew the fannings (merely for effect), and, by continued

breathings, the tow in the mouth will be brought into a glow, and

one or two sparks will issue from the mouth. When this has continued

sufficiently long, take in more tow, and so smother the burning string

again, extracting the piece containing it under cover of a loose

bunch. There need be no fear of burning the mouth, as, directly it is

closed, the light becomes a mere spark. The trick causes great effect,

not to say alarm on many occasions.

A very pretty and laughable termination to the above trick is to pass,

unperceived, into the mouth (under cover of a piece of tow, as usual)

a little ball composed of a long band of coloured paper, about half

an inch or so wide. Take this by the end, and draw it out through

the teeth. Tightly rolled up, a ball may contain several yards of

paper. It should be composed of three or four different colours, in

lengths, each pasted to the other, for there must be no break. The end

should have a piece of cotton attached to it, or it will be next to

impossible to find it in the mouth. The cotton will adhere to some

portion of the mouth, and so be easily found. These balls of paper

are supplied at all conjuring shops, as is also an article known as

the Barber's Pole. This consists of a spiral of paper, which shuts up

into a very small compass, but assumes a great length on being merely

twisted. A long pole appears to come out of the performer's mouth.

_The Butterfly Trick._--Invisible at a short distance, very fine silk

and hair are invaluable adjuncts to the conjurer's repertory, both

in the drawing-room and on the stage. The celebrated and fascinating

Japanese butterfly trick is performed with the aid of a piece of fine

black silk or horsehair. The former is, in my opinion, immeasurably

the superior of the two. Hair is most difficult to manipulate, from

its springy nature, and requires a great deal of coaxing before it

will condescend to be tied in a knot. In the butterfly trick, the

performer sustains one or more butterflies, made from rice (or tissue)

paper, in the air, by means of the current caused by the motions of a

fan. When this trick was first brought out, "all the world wondered,"

for no one, even after long practice, could keep the paper butterfly

hovering in a given space for a single moment. I tremble to think

of the number of fans I destroyed in my early days over this trick,

before I knew the secret of it. The fan used should be a very strong

and large one, of the old shape--not the circular--and be composed of

paper and wood only, so as to be free from superfluous weight. Affixed

to the top waistcoat button, or any other convenient spot, have from

3ft. to 4ft. of the finest black silk floss or hair, with a knot at

the free end. Have, also, a piece of crisp tissue (or rice) paper,

and a pair of scissors. Let the audience examine the paper, and then

proceed to cut out the rough form of a butterfly, explaining your

action as you go on, giving the centre a twist or two, for the double

purpose of forming a body to the insect, and concealing the knotted

end of the silk or hair, which it is as well to have between the

fingers before commencing operations, as it is not allowable to grope

about for it in view of the audience. When finished, the butterfly's

wings should have the appearance of being three parts extended, and

should be slightly concave from beneath. A little care bestowed on its

formation will be repaid by an increased steadiness when in the air.

When all is ready, hold the butterfly in the air at the full stretch

of the connecting medium, and fan pretty briskly with the other hand,

not immediately underneath the paper, but from the body, and along the

silk or hair, which must always be kept at a stretch, or nearly so, or

control over the butterfly will be lost.

Notwithstanding the aid of a connecting medium, there is more skill

required to perform this trick really neatly than is generally

supposed. After a time, practice will enable the performer to cause

the butterfly to settle on a flower or on the edge of another fan, and

also to sustain two in the air at one time, which has a very pretty

effect indeed. When two butterflies are used, it will be found almost

necessary to have two fans, one in each hand, and each insect must,

of course, have a separate thread. Some use wax at the end of the

connecting medium, but this is a bad plan, as it deters the performer

from giving round the butterfly to be examined after performing the

trick. Whilst cutting out and twisting up the paper, it is as well to

call attention to the fact that the trick is performed by some people

with the aid of a thread--an assistance which you will say you utterly

despise, as will be perceived. This will totally disarm those people

who may have bought the trick (it is sold universally), and are yet

only tyros at performing it.

There is a second method, in which two butterflies are joined by a

thread or hair a few inches long. These do not require to be attached

to the performer's person, the partnership being sufficient to enable

him to keep them in mid-air.

Speaking of the Chinese, it is a most noticeable thing that their

methods of vanishing and concealing articles are the same as those

practised by ourselves, which fully demonstrates the fact that there

is only one proper way; for there is only one thing more highly

improbable than that we learnt the _minutiæ_ of the art of conjuring,

practised by us for centuries, from the Chinese, and that is that the

Chinese learnt from us. It is only during the present century that we

have been sufficiently familiar with the Chinese to borrow their ideas

on magic, did we wish to do so.

CHAPTER VII.

TRICKS AT TABLE.

HOW TO CAUSE A WINEGLASS WITH WINE IN IT TO VANISH--ITS

STARTLING REPRODUCTION--FILTER TUMBLERS--HOW TO CAUSE

A PLATE OR OTHER LARGE ARTICLE TO VANISH--HOW TO

PERFORM THE CUP AND BALL TRICK WITH PLATES AND BREAD

PELLETS--A DIE TRICK--MAGICAL SURGERY--A DESSERT OF

CORKS--KNIFE-SWALLOWING MADE EASY: TWO METHODS.

_To Vanish a Glass of Sherry._--When invited out to a dinner party,

one usually leaves one's conjuring tricks at home; but in some

instances, where, perhaps, one's fame has gone before, an unexpected

call is made for an exhibition of skill. "Come, So-and-so, let us

see some tricks," says the host, and "Hear, hear!" say the guests.

You are, of course, quite unprepared, and beg to be excused, but in

vain. You must acquiesce, or be voted a boor. In an absent manner, you

place a glass of sherry to your lips, as though bracing yourself for

the fray. The glass is half emptied (be careful about this), when a

sudden movement is made as though you threw it up at the ceiling; but

nothing is seen to ascend, though the glass, with the wine in it, has

disappeared. After a short pause, to allow the general astonishment

to take full effect, the missing article is discovered inside the

coat of your immediate neighbour, with the wine in it unspilt. This

startling effect is thus managed: Open the legs just a few inches, and

in the disengaged hand hold a napkin or handkerchief. When the feigned

movement of throwing the glass upwards is made, the article itself is

left between the legs, and immediately covered with the napkin. It

is, however, of the highest importance that the hand does not dwell

an instant in leaving the glass behind, otherwise the movement will

be discovered. The action must be swift, clean, and noiseless. To

find the glass on the person of your neighbour, take it up, with the

napkin with which you have covered it, with one hand, and, bringing

yourself quite close to the party to be operated upon, whip it inside

his coat with the other. Produce it very slowly from its supposed

place of concealment, for extra effect. The success of the trick is

greatly enhanced by its total unexpectedness, and the performer must

take care not to reveal, by any word or gesture, what he is about

to do. He should, however, immediately preceding the vanish, draw

attention to himself by addressing the host, or otherwise engaging the

conversation, lest he perform the trick and afterwards discover that

no one saw it, for it is a trick that will not bear repetition. A tea

or coffee cup, small size, can be treated after the same manner.

_To Vanish a Plate._--This is considerably more ambitious than the

preceding, and requires some confidence in one's powers. There are two

methods, each differing only slightly from the other. In the one, the

plate, which should be small, is taken in the hand, and apparently

thrown up to the ceiling, but, instead, adroitly grasped by one leg,

purposely extended, behind the knee, between the calf and the thigh.

In the other method, the performer rises slightly from his seat, as if

to make an extra vigorous throw, and the plate is slipped beneath him.

Both methods are good; but it is essential to the success of either

that the performer sits on the extreme outside of everyone else.

Under any other circumstances, the requisite freedom of action cannot

be obtained. So soon as the plate has disappeared, the conjuror should

seize a napkin, wave it about, and find the plate in it. It must be

distinctly understood that the leg which is to hold the plate during

its concealment must be first brought round to the side of the chair

on which the performer is sitting, and there doubled up slightly, so

that there is just room to pass the plate between the calf and the

thigh, which will then hold it tight. The learner must not expect to

execute this vanish at the first attempt, but will require to practise

considerably before arriving at anything like perfection of execution.

A primitive method for vanishing a plate is to place the left hand

slightly behind the body, and with it receive the plate from the

right hand. In this method, which can only be used when the performer

is standing, the plate must immediately be found in someone's coat.

Books, straw mats, knives, and other large articles can be made to

disappear by any of the foregoing methods.

_To Pass a Fork or Spoon through a Tumbler._--The foregoing

successfully performed, take up a tumbler carelessly, and remark

to the host that you notice that he has some of the "patent filter

tumblers." Ignorance of the fact will, of course, be expressed,

and you then proceed to show that the tumbler you hold has a hole

through the bottom, by apparently passing the handle of a spoon or

fork, or any other suitable article, through it. This diverting

optical illusion is thus performed: Take the tumbler (empty) in the

left hand, near the bottom, not in the ordinary way, as if about to

drink from it, but in such a manner that it lies along the hand, the

mouth towards the wrist. Take the article to be passed through the

tumbler in the right hand, and, after thrusting it once or twice

against the bottom, pass it between the hand and the outside of the

glass, allowing two or three inches to protrude beyond the ends of

the fingers. This simple action causes it to appear that the spoon

handle, skewer, &c., has been passed through the bottom of the

tumbler.

_Permeable Plates._--Following up the idea of the patent filter

tumblers, you can mention that you notice that the host has also the

last new plate. Hold up a plate to the light and say, "Yes, I can

distinctly see through it." Laughter will, of course, ensue, and

you will offer to prove your assertion. To do this, make up three

bread-paste balls about the size of those used in the cup and ball

trick, of which this one is, indeed, only a variety. You will have an

extra one concealed in the fingers, of course. Now take two plates,

one in each hand, upside down, and held in such a manner that the

ball in the fingers is concealed. Place them on the table, about a

foot apart, and, by opening the fingers, allow the concealed ball to

remain under one plate. Vanish a ball as in the cups and balls, and

find it under the plate, repeating the process with all three balls,

the one concealed being dropped each time the plate is replaced after

raising it to show the one just passed through it. Now say that it

is as easy to perform the feat with another plate, and take up the

second one in the hand containing the concealed ball. Supposing this

to be, as it generally will be, the right hand, it will now be taking

up the plate on your left. Cross the arms, and, with the left hand,

take hold of the plate on your right hand, allowing the fingers to

extend well beneath it. Call attention to the fact that under the

left-hand plate there is nothing, whilst under the right-hand one

there are three balls; and then place the left-hand plate upon the

table, with concealed ball under it. Then command one ball from the

right-hand plate to pass under the left-hand one. With the fingers

seize one ball of the three, and raise both plates. Now bring back

the arms to their original positions, in order that the left hand,

which contains one ball concealed, may be brought to the single ball,

which is supposed to have been transferred from the right-hand side.

Replace both plates, allowing concealed ball to fall from the left

hand, and take up another, in the fingers of the right hand. Command

a ball to pass, and raise plates as before. Re-cross the arms, and

repeat the operation, when all three balls will have apparently passed

from one side to the other. Without crossing the hands this would not

be possible, and the reason you give for so doing is to show that it

does not matter which plate is used, both being equally permeable. The

learner must bear in mind that in this, the second phase of the trick,

the two plates are never relinquished simultaneously. The hand picking

up a ball cannot quite quit all hold on the plate, or detection would

ensue. The plate having a ball passed beneath it can be released for

the time from the hand entirely. The ball remaining concealed at the

end can be dropped in the lap under cover of the plate. It is always

as well to have one's handkerchief lying carelessly in one's lap, as

it comes in very useful for concealing small things. By taking some

cork balls in his pocket, the conjuror will avoid the necessity for

using balls made of bread.

Such occasions as the one I have now assumed are the ones favourable

for the introduction of the previously mentioned tricks with sugar and

knives; and, if the performer has taken my advice, he will be provided

with his disc of glass for the performance of the glass of water

trick, also previously described.

_Changing Dice._--It is also useful, on such occasions, to have in

the pocket a pair of dice, rather smaller than those in general use,

for the performance of the following trick. Place the dice, side by

side, between the finger and thumb. This will leave two sides, back

and front, open to view. Ask the spectators to note the numbers at the

front, and then those at the back. Show each side two or three times,

turning the hand over each time, and then give a slight twist with

the finger and thumb, just sufficient to cause the dice to revolve

the extent of one square only. This will bring different numbers to

the back, whilst the front ones have apparently remained unaltered,

as you will show, taking care to twist the dice back again to their

original positions. The twist must be given as the hand is turned

over, when it will be quite imperceptible to anyone. This is the first

and simple phase of the trick; the second is more convincing still.

It very frequently happens that someone says, "Ah! of course you turn

them over." This you stoutly deny, and proceed at once to prove the

fallacy of the idea that the dice move in your fingers. To do this,

give the twist backward and forward each time the hand is turned

over in what the spectators consider to be merely the preliminary to

the actual trick. Then say, "Now, I will turn my hand over as slowly

as possible, and ask some one to hold my fingers firmly so as to

render it utterly impossible for me to move them." Of course, as the

positions of the dice have been changed each time you turned your hand

over, you have now only to keep them still to effect an alteration.

This ruse invariably silences sceptics.

The trick is also capable of further development if the dice be

properly arranged. By placing the two fives face to face, the numbers

will read one-three, three-one, six-four, four-six. Hold the dice in

the fingers so as to cover one three-one and one six-four. The visible

numbers will then be six-four and three-one. Suppose the six-four is

on the top, the twist of the fingers will expose the hidden six-four

at the bottom, and the hidden three-one at the top. The two numbers

will then appear to have completely changed places. The fact that, in

one instance, the four and the one are where the six and the three

were previously will not be noticed if the performer is careful to

always call the numbers the same, viz., "Here we have six-four on the

top and three-one at the bottom; six-four" (turn over), "three-one"

(turn back), "change" (turn over), "three-one on the top, six-four on

the bottom." A fresh combination can at once be obtained by placing

any other numbers face to face, so that they be the same unit. This

variation will be found very effective and dumbfounding.

_To Cut a Person's Arm with a Knife, through the Coat, without

Injuring the Cloth._--Turning to his next-door neighbour, who,

I need scarcely say, must not be a lady, the performer seizes a

knife and asks him whether he would like to have his arm cut. A

bloodthirsty slash in the air will add emphasis to the question.

The person questioned will invariably decline, with thanks, and the

performer then affects to think that the reason for the negative is

an objection to having the coat cut, and not on the score of any pain

to be inflicted. He assures his neighbour, with great emphasis and

earnestness, that any injury necessarily done to the cloth will be

immediately remedied, and that no traces of a cut will remain. When

it is begun to be realised that the cloth is not to be cut, a joke

is anticipated, and consent to the operation will soon be obtained,

especially if the performer alters his manner, and becomes persuasive.

It is necessary, in order to invest the trick with interest, to work

up a state of apprehension to begin with, as it is but a small thing

in execution, and requires filling out. When the necessary consent

has been obtained, the performer places a napkin or handkerchief over

the biceps of his neighbour, and, introducing the knife underneath,

commences to saw away at the arm. Presently the patient will give

a sudden start, and, if at all weak-minded, he will shout "Oh!" as

well. On being questioned, he will explain that he distinctly felt

the knife cut into his arm, which is, indeed, precisely the feeling

communicated to him. The secret of the trick is simply a common pin,

which, under cover of the napkin or handkerchief, the performer takes

from his vest, or wherever it may be concealed, in the left hand. Both

hands are introduced under the napkin, the right hand sawing away with

the knife, with the blunt side against the coat. Great care must be

taken to employ a new knife, as old ones frequently have their backs

rather sharp, and the cloth might be cut in reality. Press pretty

firmly with the knife, sufficiently to make the patient feel it, and

then gradually push the pin through close beside it, pushing only

when pressure is put upon the knife. In time it will work through

the clothing--a quantity of which rather assists the illusion--and,

entering the flesh slightly, will cause a sensation precisely as

though the arm really were cut. The performer at once stops, and

either sticks the pin into the napkin or in its former place of

concealment, or else drops it on the floor. The trick may be repeated

upon other patients; indeed, it is not easy to appreciate it unless

it has been actually performed upon one. The pin need only be dropped

when the performer notices looks of suspicion directed at his fingers.

He has others concealed about him, naturally. Black pins should

be used as being less likely to be seen, especially when dropped;

although so common an object as a pin upon the floor, even if noticed,

would scarcely excite suspicion. Still, it is always best to think of

every contingency, and provide for it, or, haply, experience may teach

the lesson in a harsh manner.

_Corks_ are generally handy at a dinner table (at set dinners tricks

would scarcely be introduced), and, being easily palmed, form

excellent _media_ for small conjuring. The cork should be held by the

tips of the first and fourth fingers, lengthwise, and it then palms

right across the hand, the sharp edges (do not choose a ragged edged

cork) giving a splendid hold, especially as the article is so light.

Corks are very easily swallowed, being either placed (apparently) in

the mouth by the hand palming them, or else put into the other hand

first. Houdin used to regale himself at friends' houses by a dessert

of corks, brought on in a sauce-boat or soup tureen, especially

chosen because it concealed the hand when thrust in. The performer

continually took out corks, dropping the ones palmed as he did so,

until he had apparently eaten a dozen. A good deal of natural chewing

should be indulged in, and the changes continually rung upon the

various palms and passes taught in this book. Finally, the performer

says he can eat no more, as he is full up. As evidence of this, he

extracts from his ear the last cork he ate, and, after (apparently)

replacing this in the bowl, he is taken with a spasm, and another

cork is taken out of his mouth, the supposition being that it had

been unable to find room below. It is, of course, rolled into the

partially opened lips from the palm. It is quite open to the performer

to reproduce a number of corks from his person in this way, when the

company will imagine that he really secreted those he pretended to

swallow. This effect will be heightened if the performer has gone to

the dinner with half-a-dozen corks in his pocket. As a _finale_, he

says: "The rest are here in my pocket," and produces them all at once,

throwing them carelessly into the bowl. If he has performed the rest

of the trick properly, the company will think him quite capable of

secreting half-a-dozen corks in his pocket without being observed, no

one dreaming for a moment of any previous arrangement.

_Swallowing a Knife._--Performed after the following method, this

illusion can be carried out most effectively: Taking a large knife--a

carving-knife is not too large--the performer lays it in front of him,

right and left. He turns up his coat sleeves, as far as they will go,

and then, squaring his elbows, so as to bring the forearms across

his body, he places his hands along the knife, one hand overlapping

the other, so as to completely hide the knife from view. In the case

of a large knife, some parts of it--the ends--will be hidden by the

wrists. Nipping it with the thumbs, or with one thumb only, it is

raised from the table, the hands keeping their somewhat constrained

position upon it. One hand is now brought to the mouth, the other

being raised, and an apparent attempt made to swallow, the hands

appearing to tilt the knife down the throat. The performer, however,

suddenly begins to choke, and the attempt is relinquished, the knife

being laid upon the table again. It is, however, immediately raised

again, as before, but the second attempt is no more successful than

the first. The knife is once more taken in the hands, and, in the act

of picking it up, is brought just beyond the edge of the table, and

allowed to fall into the lap. It must be barely raised from the table,

or else the drop will be observed. The hands are, for the third time,

brought to the mouth, as before, when, of course, the swallowing is

successfully accomplished. The performer has taken the precaution to

have a napkin lying loosely upon his lap, in which the knife at once

becomes hidden. The illusion is a very complete one, especially if the

performer takes care to make each of his three movements of the hands

to the mouth precisely the same, the knife being brought beyond the

edge of the table at each abortive attempt, and not at the last one

only. If the performer pleases, he may refrain from turning up his

coat sleeves, and, when the trick is finished, show them to be empty.

Everyone will suppose that the knife has gone down the sleeve, and

it, perhaps, provides an extra effect to show that it has not done

so. As the position of the hands is somewhat unusual, the performer

should be explaining, during the performance of the trick, that the

true secret of knife-swallowing lies in the steadiness with which

the knife is passed down the throat, this steadiness being better

given with two hands than with one. As soon as the trick is safely

accomplished, the performer should get his legs well under the table,

and, taking the knife with one hand, place it under his knees, where

it must be gripped, or else stick it in his boot. The hand is supposed

to be placed below merely to procure the napkin, which is instantly

produced, and the performer's lips carelessly wiped with it. He can

then push his chair away from the table, and, leaning back, so as to

expose his lap, join in the conversation, or, better still, at once

commence a fresh trick. The thoughts of the company diverted, the

knife may presently be brought to light from under someone's coat,

or the performer may simply secrete it in his napkin, and place them

together upon the table.

A smaller knife can be very effectively swallowed as follows: A

cheese-knife is placed on the table, edge downwards, the left hand

retaining it in that position by holding it near the point of the

blade. It is then picked up by the right hand, the first and second

fingers of which nip the back of the blade, close to the point, about

half an inch of which is purposely left visible. The rest of the

knife lies along the inside of the hand, the handle being concealed

by the wrist. The handle is brought to the mouth, the knife being

held upright, and the left hand, by means of gentle taps, thrusts it

gradually downwards, until it wholly disappears down the throat. This

illusion is managed within an inch or so of the end of a precisely

similar knife to that supposed to be swallowed. This the performer has

concealed between two fingers, and, when the knife is picked up, it is

brought into position at the ends by means of the left hand, which is

all the time busy helping the right one. The knife is, of course, at

once dropped into the lap, the eyes of the company being fixed upon

the little piece visible, which they naturally take to be the actual

point of the knife. With the palm of the hand a few taps should be

given the fragment, so as to cause it to slide out of sight, but still

held between the fingers. The tapping is continued with the left hand,

although it is performing upon nothing, the throat of the performer

giving forth choking sounds, to assist the deception, until the

knife may be fairly supposed to be swallowed. The fragment of knife

is treated precisely as a coin held by the finger palm, and may be

placed in the vest pocket, under the plea of getting out a toothpick.

It should have its ragged edge nicely smoothed, so as not to cut the

fingers.

CHAPTER VIII.

TRICKS WITH CARDS.

THE VALUE OF CARD TRICKS--THE CARDS--WHERE TO PROCURE

THEM--THE DOUBLE-HANDED PASS--SINGLE-HANDED PASSES--THE

DIAGONAL PASS--THE FALSE SHUFFLE--TRICKS WITH PASS AND

FALSE SHUFFLE--TO CAUSE A CARD TO SHOW ITSELF--THE ATTACHED

CARD--THE CONGENIAL ACES--THE REVERSED CARD--THE TRAVELLING

CARD--THE LADY'S OWN TRICK--A RAPID CHANGE PASS--METHODS

FOR USING SAME--THE CHANGE--ITS USES--THE PALM--ON PALMING

A SINGLE CARD--ON PALMING MANY CARDS--ON VANISHING A

PACK--METHODS FOR USING THE PALM--TRICKS COMBINING PALM AND

CHANGE PASS--THE SLIDE--ITS USES--THE FORCE--ON FORCING

PACKS--LA CARTE GÉNÉRALE--SYMPATHETIC CARDS, OR "HOLD

THEM TIGHT!"--HOW TO PASS A CARD THROUGH A PERSON--TO

DIVINE A CARD THOUGHT OF--METHOD OF MAKING A CHOOSER

THINK OF A CERTAIN CARD--A CARD MADE TO APPEAR ANYWHERE

IN THE PACK--CARD BOXES--TRICKS WITH SAME--HOW TO THROW

CARDS--THE REVOLUTION--PREPARED CARDS--CUT PACKS--LONG

AND BROAD CARDS--PRICKED CARDS--CHAMELEON CARDS--METHODS

AFFECTED BY BUATIER AND HOUDIN--HOUDIN'S SUPERIORITY--THE

TRAVELLING CARDS--THE ASSEMBLY: METHODS FOR PALM, PASS

AND CHANGE--THOUGHT-READING EXTRAORDINARY--GAME AT

NAPOLEON--LIGHTNING CHANGE--CONCLUSION.

Having shown the beginner what can be done with the ordinary objects

of everyday use, I will now endeavour to instruct him in the

skilful manipulation of cards. By his success or failure in this

particular branch of legerdemain will his reputation as a conjuror

be made or marred. Card tricks, more than anything else, demand

sleight of hand pure and simple, and success with them can only be

attained by assiduous practice. To the learner some of the following

directions will at first appear impossible of execution, owing to the

unaccustomed positions in which the fingers have to be placed; but

a little resolution will soon overcome all obstacles, and when once

success, however trifling, has been achieved, greater results will

speedily follow. In conjuring, as in most things, everything that is

at all worthy of accomplishment requires some little trouble; and the

learner must, therefore, not be disheartened if his early efforts are

not crowned with success commensurate with his wishes. There is no

disguising the fact that card tricks which owe their accomplishment to

sleight of hand (and they are the only ones worthy of the conjuror's

consideration) are difficult--in many cases exceedingly so; but this

fact ought only to make one extra energetic in mastering them. Amateur

conjurors of every grade I have met with, but those skilful with cards

I can count upon the fingers of one hand.

Before everything, let me inform the reader of one fact, not by any

means universally known, which is that the cards generally used by

conjurors are considerably smaller than those in ordinary use.[A]

I will not say that it is impossible to conjure successfully with

ordinary cards, because I know of very clever conjurors who use

the full-sized card, but they have strong hands; but the advantage

of using smaller ones is so marked that anyone thinking seriously

of practising sleight of hand should provide himself with some

small-sized packs. Many use the French cards, but I find them far

too flimsy for many things. The best are those made by nearly all

the large English card manufacturers for conjuring purposes. Bancks

Brothers, Glasshouse-street, London, are, perhaps, as good as anyone.

Should the reader be unable to procure these small cards, he can

provide very fair substitutes by having an ordinary pack shaved at the

edges, and so reduced in size.

To enumerate every card trick individually would necessitate a

separate volume, so numerous are the varieties of changes capable of

being introduced. All the teacher can do is to instruct in the general

principles, by means of which the results are brought about, and to

give illustrations of the actions of the same. Accident or design will

enable the performer to vary his tricks in hundreds of ways.

The chief things to be learnt at first are:

1. The pass.

2. The false shuffle.

3. The palm.

4. The change.

5. The slide.

6. The force.

THE PASS.

With the foremost of these, as the most important, I will first deal.

The use of the pass is to transfer a given card from one portion of

the pack to another. In nine tricks out of ten, a card is chosen

and replaced in the centre of the pack, which is then shuffled. If

this were in reality done without any previous interference on the

performer's part, he would be at sea as to the position of the chosen

card, and so rendered totally unable to find it when he wanted to

do so. To avoid this _contretemps_ he, by means of the pass, brings

the card either to the top or the bottom of the pack, and executes a

shuffle which, although it appears to mingle all the cards, in reality

leaves the chosen one in its original position. If a chosen card is

placed in the centre of a pack, it divides it into two portions, and

the effect of the pass is to reverse the positions of these portions,

the upper one becoming the lower, and _vice versâ_. It will therefore

be seen that if the card is to go to the top of the pack it must, when

replaced, and before the pass is made, form the uppermost card of the

lower portion, and when it is to go to the bottom it must form the

bottom card of the upper portion. Except in very special instances,

the card is usually required at the top, and this, for the sake of

uniformity, I shall assume in my examples to be the case.

[Illustration: FIG. 26.]

[Illustration: FIG. 27.]

For the purpose of learning the pass, it will not be necessary to

assume that a card has been chosen, but let the learner take the pack

in the _left_ hand. The little finger is inserted in the centre of the

pack, thereby dividing it into two portions, the upper one of which

must be held by the fingers as securely as the unusual circumstance

will admit (Fig. 26).[B] The right hand is now brought across the

left hand, as in Fig. 27, the _lower_ portion of the pack being held

between the thumb at one end and the second and third fingers at the

other. The state of affairs is now this: The upper hand holds the

lower portion and the lower hand the upper. Now, in order to alter

the positions of the two halves of the pack, the left hand must draw

off, under cover of the right hand, the upper portion, and, working

as though it were a hinge, replace it beneath the lower one, which

is slightly raised by the right hand during the operation, so as to

facilitate its execution. The cards should not be held in a horizontal

position, but at an angle of fully 45 deg., or even more, the

declension being towards the right hand. The movement should first be

practised as slowly as possible, and with a few cards only. It will be

time enough to increase the speed when a good action has been secured.

One little point must be borne in mind, and that is that that half of

the pack which was originally the lower one, and therefore held by the

right hand, must always be kept hard against the root of the thumb

of the left hand whilst the pass is being made, it working there as

if hinged. At first the two halves, in passing each other, will make

a scraping noise, sometimes very loud. This noise must be studiously

avoided, as the pass must be noiseless as well as invisible. When

making the pass before an audience, move the hands up and down or from

side to side, to cover the movement. It is sometimes required to pass

a single card from the very top of the pack to the very bottom. This

can, of course, be done in the foregoing manner, but the quickest way

is to simply press the fingers of the left hand (the hands being in

position for the pass without the little finger inserted) on the top

card, and then execute the hinge movement. This will pull the top card

off and slip it to the bottom; but it is hopeless to expect to do this

without some slight noise, although that can be almost nullified by

immediately running the thumb sharply across the edges of the cards,

and so causing a similar sound to be made. Such is the double-handed

pass.

[Illustration: FIG. 28.]

[Illustration: FIG. 29.]

[Illustration: FIG. 30.]

There are also various single-handed passes, one or two of which,

at times, come in very handy. They are very difficult to master,

and are best learnt with two cards only at the very commencement.

The neatest, and in every way most effective, is the following: Hold

the pack by the ends of the fingers and thumb, the first and fourth

fingers acting as supports, by being slightly bent under (Fig. 28),

and allow a portion of the cards to drop from below (Fig. 29). This

portion push back towards the thumb by means of the first and fourth

fingers, until it will permit of the upper portion dropping down, and

so becoming the lower (Fig. 30). The asterisk denotes the chosen

card, which is passed from the centre to the top of the pack. Although

three positions are here shown, in order to make the action of the

pass clear, it must by no means be thought that there should be three

distinct movements. When the beginner can execute from thirty to forty

passes in the minute, he may consider himself tolerably proficient. It

will assist the action if the fingers are well raised and the thumb

held a little low, thereby causing a better fall to be made; also

considerable swing should be given to the hand, to cover the shifting

which takes place. With practice this pass can be made without

detection.

[Illustration: FIG. 31.]

[Illustration: FIG. 32.]

The pass shown at Figs. 31 and 32 is a fairly good one, but much

more difficult than any other. The middle and third fingers are

inserted in the pack, the bottom portion of which is held by the four

fingers, two above and two below. The upper portion is held between

the roots of the thumb and forefinger. The fingers draw out the lower

portion and place it upon the upper one. This pass is useful when it

is required to pass a card from the bottom to the top. Under most

circumstances, the pass first described (Figs. 28, 29, and 30) is

preferable, except when the top card has to be passed to the bottom,

when the following method is sometimes adopted. Push off the top card,

which is the one to be passed, by means of the thumb, until it lies

well over the ends of the fingers. Stretch the fingers out straight,

and the card will be drawn completely off the rest of the pack,

which is quickly raised by means of the forefinger, and placed over

the card. A good backward and forward swing will assist the action

considerably.

Experience has taught me, however, that the pass shown at Fig. 31,

&c., is the best one for getting a card from the top to the bottom

single-handed. The cards are so firmly gripped by the fingers that

the pass may be executed, no matter what position the pack is held

in, whether end on, sideways, or upside down. The beginner will find

that the thumb has but little difficulty in dragging off the top card,

especially if very slight pressure indeed be put upon it to commence

with. If an examination is made of the root of the thumb, a line will

be found to run half way round it, joining other lines on the inside,

where the flesh is loosest. The card should be held just there.

Matters will be greatly facilitated if the right hand, whilst placing

the pack in the left, holds it for an instant. The thumb of the left

hand then draws the card off an eighth of an inch, which will be quite

sufficient to enable the card to be seized by it at the root. But the

aid of the right hand should be dispensed with as soon as possible.

The passing of cards by means of one hand only is not suspected by

the general run of spectators, who are, however, always suspicious

directly the two hands are brought together.

[Illustration: FIG. 33.]

The _learner_ should always use the double-handed pass, practising the

single-handed ones in private, until he has attained that confidence

in his skill which is afforded by frequent exhibitions before his

friends, &c.

An easy, but somewhat clumsy, single-handed pass is depicted at Fig.

33. The third finger is inserted in the pack, and the top portion held

between it and the middle finger, the rest of the pack being between

the first finger and thumb. The top portion is then twisted round in

a semi-circle in the direction of the arrow, and so brought beneath

what was originally the lower one. The objection to this pass is that

it disarranges the cards a good deal. The best way of avoiding this

is to move the hand towards the table whilst making the pass, so that

the edges of the cards can be set square at once on its surface. The

motion must be made as if it were merely intended to place the pack

upon the table.

THE DIAGONAL PASS.

This is a very useful variety of the two-handed pass, by means of

which cards placed simultaneously in different parts of the pack are

at once brought together. Say, three cards have been selected by

various spectators. The performer presents the pack to each in turn,

requesting to have the card chosen placed in any portion of it. The

chooser thereupon pushes the card between the others, which are not

opened out by the performer, but merely presented in a compact body.

The card is not permitted to be pushed quite home, the performer

withdrawing the pack in time to prevent this. The pack is presented

to the two other selectors of cards, and, when the three have all

been placed in it, the performer apparently pushes them home with

the right hand. What he actually does is thus described: Nip the

three cards by the still protruding portions between the thumb and

middle finger, across their width, and, in the act of pushing them

into the pack, turn them obliquely sideways sufficiently to cause the

right-hand top corners to project a quarter of an inch from the pack.

The length of this projecting portion will be rather more than an

inch, and is easily hidden from the spectators by means of the first

and second fingers of the left hand. The top left-hand corner must be

pushed down out of sight, and it will then be found that there are

two considerable projections on the side and bottom of the pack. The

right-hand one is hidden by the palm of the hand, and the lower one by

the little finger. The pack, as it appears at this stage of the trick,

held in the left hand (the right hand being removed for the sake of

clearness), is shown at Fig. 34.

[Illustration: FIG. 34.]

As the cards are supposed to be pushed home along with the rest of the

pack, it is advisable to actually remove the right hand for a short

time, the performer commencing to say what he is about to do with

the cards. When he subsequently brings the hands together again, for

the purpose of making the pass, the thumb and second finger of the

right hand should again nip the upper end of the pack. A simultaneous

twisting movement is made with both hands, the right hand turning the

pack to the right, whilst the left turns the three cards to the left,

until they are clear of one another, when the motions are reversed,

the three cards being placed either on the top or at the bottom, as

the performer may desire. He will find it easier to place them at

the bottom, as they come more naturally there. The position of the

left hand remains the same throughout, the three cards being held in

position by the pressure of the little finger at the lower right-hand

corner. The making of the pass must be covered by a slight swinging

movement of the two hands in any direction. Some performers, finding

it rather difficult to push home several cards into the desired

position simultaneously and neatly, make the pass each time a card is

placed in the pack. It is open to the learner to adopt this method if

he so pleases, but he is more liable to detection; besides which, the

feature of the pass is the showing the cards all in different parts of

the pack, and then apparently pushing them home at one and the same

time.

An alternative method is to push the cards down, with the projecting

corner on the thumb side of the left hand, and then, by straightening

the cards at once, leave half an inch or more of the whole width of

the chosen cards projecting from the bottom of the pack, instead of

having them diagonally across the pack, as is shown in illustration.

A trial will show the learner that this method is an expeditious one,

but my reasons against its use are twofold. Firstly, too much of the

cards to be passed is exposed, and, secondly, the act of pushing them

down is extremely likely to carry along with them indifferent cards

intervening between two of them. This is especially likely to be the

case with cards that are at all worn. The reason for this is that

there is no stop to the body of the cards, which stop is provided, in

the method shown at Fig. 34, by the little finger, during the whole

of the operation. The act of pushing the cards transversely down, from

the opposite side of the pack to that depicted, renders it impossible

that the little finger can be in position on the lower side of the

cards at the most critical time, the commencement, to prevent any but

the desired ones from being pushed down. Its presence just at the

corner seems to me to be very essential to the effective performance

of the pass, combined with security from mishap.

THE FALSE SHUFFLE.

This the conjuror will find a very useful adjunct to the pass. There

is nothing very difficult about it, but it is necessary to be somewhat

bold in executing it. The two methods of shuffling in ordinary use are

the perpendicular and the horizontal. The perpendicular is the most

business-like, and I have no doubt that it is used by most of my male

readers who are card-players. Ladies, I am aware, mostly patronise

the horizontal shuffle, in which the cards are passed from right to

left, or _vice versâ_, alternately over and under. To illustrate

the perpendicular method, suppose the card to be at the bottom of

the pack, just passed there, and it is desired to keep it in that

position. By applying pressure with the fingers and thumb, the top

and bottom cards will be retained in the left hand when the right

hand draws away the rest of the pack, which is then shuffled over the

two. The operation can be repeated hundreds of times without fear of

a mistake. With the card at the top, the action is more complicated,

though not difficult. The pressure with thumb and fingers must be made

as before. This will bring the chosen card from the top to second from

the bottom. Commence the shuffle a second time, and the card will

be the bottom one of those held in the right hand, the one recently

beneath it having been drawn off by the fingers of the left hand. It

now remains to continue shuffling vigorously until the chosen card

alone remains in the right hand, which then leaves it on the top of

the pack in its original position. For this shuffle, which I prefer

to any other, I have to thank myself. It is utterly impossible for

the eye of anyone, be he the most practised conjuror, to follow the

positions of the one card, even supposing that an opportunity for

minute investigation were allowed, which it scarcely would be during

a performance. When exhibiting before a select company of extra

sharp people who have vague notions of false shuffles and passes, it

is sometimes advisable to bring the chosen card to the top, with

one card or more above it. You can then say, "Now, it is utterly

impossible for me to know where the card is. You see it is neither

at the bottom nor next to the bottom" (throw bottom card off), "nor

is it at the top" (throw as many cards off the top as are above the

chosen card). More than this the spectators can hardly expect you to

do. In the horizontal shuffle, with the card at the top, draw the

card off between the first and second fingers, and put all cards

which are shuffled above it between the first finger and thumb. This

will form two packs, divided by the first finger. The final movement

in the shuffle is the replacing the lower half on the upper; but I

prefer bringing this about by means of the pass. With the card at the

bottom, one has merely to shuffle the cards in the ordinary way, just

taking care that the bottom card is shuffled last by itself to the

top, where it may be left; or it may equally easily be shuffled to

the bottom again by simply retaining it in the hand last. This is the

simplest shuffle of all, but it will not deceive enlightened people.

I find it an excellent method to combine two methods of shuffling.

Great rapidity of action should be studied; everything, however, being

practised very slowly at first, until the proper method is secured.

The false shuffle is very useful in covering the pass. The pass should

be made, and the shuffle at once proceeded with, without allowing a

fraction of a second to elapse.

Leaving the beginner to overcome at his leisure the various

difficulties connected with the mastery of single-handed passes, I

will describe some tricks performed by the aid of the pass, assisted

by the false shuffle alone, commencing with the most simple. Lest the

reader should say, "Oh! but no person in his senses would be deceived

by that simple thing," I will observe that he should endeavour to suit

his audience to his skill. The learner should commence by allowing

a card to be selected from the pack, which he then cuts near the

centre, and requests the person who selected the card to place it upon

the lower portion. He then replaces the upper portion, taking care

to allow the little finger to intervene between the two, so as to be

ready for the pass, which must be made on the first opportunity, and

the pack handed to a spectator to hold. Now say that you will cause

the card chosen to rise from the centre of the pack, where it is

supposed to be, to the top, and then let the holder of the pack show

that such has actually been done. By inserting the finger beneath the

card before making the pass, it will be brought to the bottom of the

pack, whither you can afterwards command it to go. In these instances

the effect will be spoilt if any shuffling takes place; but, in most

of the following, false shuffling should be resorted to, attention

being called to the fact that the cards are well mingled, and that

you, therefore, cannot possibly know the position of the chosen card

in the pack.

_To Cause a Card to Show itself on the Top of the Pack._--Bring the

card to the top, and, holding the pack in the right hand, push it off

with the thumb of the left hand about half an inch, and then throw the

pack violently on the table or floor. The resistance of the air will

cause the uppermost card (the chosen one) to turn completely over,

without losing its position. The effect is very good indeed.

_The Attached Card._--Bring the chosen card to the top, and give the

pack to be held by one corner tolerably firmly, between the finger,

and thumb. See that it is held neither too tightly nor too loosely,

and then suddenly strike the cards upwards with the hand. Give a good

strong blow, and all the cards, with the exception of the top one,

will fly into the air, the chosen card remaining in the fingers. If

the card is brought to the bottom, the cards must be struck downwards

to the floor, which method certainly has the advantage of causing less

litter. The effect is increased if two cards are chosen, one being

brought to the top and the other to the bottom. The cards are then

struck--only moderately hard in this instance--sideways, when the top

and bottom cards will remain in the holder's fingers.

_To Catch Two Cards in the Air, out from the Pack._--A better way

with two cards is, after bringing one card to the top and one to the

bottom, to take the pack firmly between your own thumb and fingers,

and jerk it upwards. This will cause all the cards to fly towards the

ceiling, except the top and bottom ones, in a bunch. Before the cards

fall, you make a dash at them, and affect to catch the two chosen

cards in the air out from the rest. This is a very finished illusion.

The audience, having their eyes upon the pack, do not notice the two

cards between the performer's fingers, but the dash at the pack must

be made immediately.

_The Congenial Aces._--Select from the pack the four aces (four cards

of any other denomination would serve equally well, but aces are best

for effect), and allow the pack to be thoroughly examined for the

purpose of showing that there are no others contained in it. Give one

ace to one person, another to a second person, and the remaining two

to a third. Have the first ace placed at the top of the pack, the

second at the bottom, and the third and fourth in what the audience

will suppose to be the middle of the pack, but in reality between the

top and bottom cards brought together by means of the pass. As you

turn to the third person holding aces you pretend to open the pack

in the middle, but in reality make the pass, but without bringing

the two portions together again. The two remaining aces are thus

innocently placed between the two already restored to the pack, which

you instantly close up, whilst calling particular attention to the

fact that you do so with all possible deliberation and slowness. Now

command all four aces to join company in the centre of the pack. On

the pack being opened, the command will be found to have been obeyed.

The trick can be varied by placing a red ace in the centre and a black

one on the top or bottom, and then causing them to change places by

means of the pass. But the most startling change of all is when

two aces of one colour are placed in the centre, and the two of the

other colour, one on the top and one at the bottom, and then made to

change places. The company cannot realise that this can possibly be

accomplished in so brief a space of time; but it is simple enough. It

should always be produced as a final effect, the performer saying,

"Now I will show you something more remarkable still." He then places,

say, the two red aces in the centre of the pack, and one black ace on

the top and the other at the bottom. In order to convince the company

thoroughly that things are as stated, the pack is turned over and

opened slightly, fanwise. In showing the cards thus, it will be very

easy to insert the little finger between the two red aces unperceived,

and the double-handed pass is made in the act of turning the pack

over. It is instantly placed in the hands of one of the company,

who may be asked to blow upon it, or to perform any other operation

equally unlikely to bring about any magical change, and then the cards

can be examined without the performer approaching them again. But,

in such cases, much depends upon how the pack is examined, and it

should always be done under the performer's directions. For instance,

he would say, "On the top was a black ace; will you please look at

the top card now?--you will see that it is a red one. At the bottom

was also a black ace; turn the pack over, please, and you will find

a red one there also. In the centre were two red aces; kindly look

there, and you will find the black ones." By this means, the whole of

the company are informed of what has taken place, which would only be

unsatisfactorily done if it were left in the hands of the temporary

holder of the cards, who only thinks of satisfying his own curiosity.

The single-handed pass (Fig. 28, &c.) may be employed in this trick

to great advantage, whenever it is required to bring cards from the

outsides to the centre. Where cards, already in the centre, have to

be brought to the top or bottom, the insertion of the little finger

is necessary, and so the double-handed pass has to be employed. In

such cases, the employment of the pass depicted at Fig. 33 would

be possible; but the performer would have to execute it in a more

masterly manner than I have yet seen exhibited. For the first phase

described, the single-handed pass (Fig. 28, &c.) is perfect. Two

aces are placed, one at the top and the other at the bottom of the

pack, and as the performer turns to the holder of the two others, he

executes the pass, leaving the cards open, precisely as depicted at

Fig. 30, turning the hand slightly downwards, so that the ace in the

middle shall not be visible. It then appears to the spectators as if

he had merely opened the cards slightly; and, when the two aces are

inserted, the top half is allowed to fall to, and the pack given there

and then into the hands of one of the audience.

_The Reversed Card._--This is not at all a bad termination to a trick.

Bring the chosen card to the top, and then pass it to the bottom

with the two-handed slip pass previously described; but, in passing,

cause it to turn upside down. This, it will be found on trial, is

very easily managed by keeping the face of the card always against

the pack. Now make the ordinary pass, and so bring the card to the

middle, and then throw the pack along the table, when the chosen card

will appear in the middle, face upwards. If you like, you may ask the

audience whether the pack shall be reversed and the chosen card found

face downwards, or _vice versâ_. It does not matter which is selected,

as it is only necessary to turn the pack over before spreading it out,

in order to bring about a reversal of affairs.

_The Travelling Card._--By attaching a hair to a waistcoat button, and

affixing the other end, by means of a tiny bead of wax, unperceived,

to the chosen card, it can be made to walk out of the pack at the

performer's command by a slight motion of the body. The cards should

be spread face upwards upon the table, and the effect of one card

disengaging itself from the rest is a very comical one. The waxed end

of the hair should be held in a finger nail, so as to be at hand.

Another method is to bring the card to the top, and then, holding the

pack upright in one hand, with the faces of the cards towards the

audience, pretend to pluck a hair from the head, and then to wind it

rapidly round the pack with the disengaged hand. Pretend to pull at

the imaginary hair, and, with the first and second fingers of the

hand which holds the cards, work up the chosen card from the back.

The effect is very comical. Two or three cards, selected by different

people, may be treated in the same manner, when it is as well to come

forward, after the first card has risen, and, making the pass, show

that the chosen cards are not on the top. Before continuing, the pass

must be again made to bring the cards back, the little finger having,

of course, all the while divided the two halves of the pack. The trick

should be practised before a looking-glass to ensure that the working

of the fingers is not observed. It will be found necessary to allow

the cards to well cover the finger roots. The performer should stand

well away from the audience, and be certain that no one has a side

view of his hand.

_The Lady's Own Trick._--Say that you have now done quite sufficient

yourself, and think it time someone else had a turn. Bring the card

to any portion of the pack you please, so long as you know where it

is. Take sixteen cards from various portions of the pack (you may

have them selected if you please), taking care that the chosen card

is included in the number, and arrange them in four divisions. Now,

say that this trick must be done solely by a lady, and, giving your

wand to one of the fair sex, ask her to point to any two divisions.

The exact words you will use are, "Kindly tell me which two divisions

I shall take." The word "take" is intentionally ambiguous, as, if one

of the two divisions pointed at contains the chosen card, on which

you are, of course, keeping a sharp eye, you will understand it to

mean that you are to take those two and continue with them. If, on the

other hand, they do not contain the card, you will assume that they

are to be removed, and throw them aside accordingly. Two divisions

will now remain, and you ask the lady to point to one of them, using

the words, "Now, which do you prefer of the two?" This is, again,

ambiguous, and you can do as you wish about taking or leaving the

division pointed at. Four cards now remain, and you ask that two of

them shall be selected, and, on two cards remaining, you repeat the

request. If the chosen card is then pointed at, you allow it to be

taken up; if the other, remove it, leaving the chosen card to be

picked up by the chooser. You must endeavour to impress spectators

with the idea that it is all sleight-of-hand, and _never do it twice_.

Some tricks (not very many, though) will bear repetition, although

it should always be avoided if possible. If there is no help for it,

endeavour to vary the method as much as possible.

[Illustration: FIG. 35.]

Another very rapid single-handed pass is depicted at Fig. 35. As

it is only useful for passing one or more cards from the top to the

bottom, or, rather, from back to front, it is not in general use, but

forms almost a separate trick by itself. The cards, which should not

exceed twelve or fifteen in number, should be held at the top corners

by the first finger and thumb, and the third finger inserted beneath

the card to be brought to the front. This card is then, by means of

the middle, third, and little fingers, which hold it, brought from

behind and passed round the others, care being taken to bring all

together evenly. In executing this pass, the pack is first held up

with the faces of the cards towards the audience, and is then turned

downwards for a moment. When the pack is again held up, it is seen

that the front card (the bottom one) has changed. The trick can be

thus worked: Place secretly at the back of the pack three of any

denomination of card, say, the fours. At the front, place the other

four, which suppose to be the four of clubs, and request one of the

audience to say into which other suite the card shall change. You will

know the order in which the three fours at the back are placed, so you

will only have to place the third finger beneath the one named and

pass it to the front. If it is the actual top card, you will bring it

forward alone; but if it is the second or third, those above it must

come forward as well. As this pass cannot be effected without noise,

it is always best to pretend to pass the card chosen as the one into

which the original four is to change from some cards held in the other

hand. Ruffle these cards with the thumb and say, "Did you not hear it

go?" The slight noise heard will be accounted for by the cards passing

from one pack to the other. If a duplicate four of clubs is held at

the bottom of the second pack, it can be exhibited as the one changed

in the other pack. But the best trick performed by means of this pass

is by the aid of two duplicate cards, say, the knave of clubs and the

ace of hearts. A pack must be held in each hand. At the top of the

right-hand pack put the ace, and at the bottom the knave. At the top

of the left-hand pack put the knave, and at the bottom the ace. The

cards at the top are placed there secretly; those at the bottom openly

before the audience. Hold the faces of the packs towards the audience,

and, calling particular attention to the positions of the cards, say

that you will make them change places. Turn the packs face downwards,

with a flourish, executing the pass with both hands, saying, "Presto!

pass. Did you not see them go?" On holding the cards up again, it will

be seen that the knave has gone over to the left-hand pack, and the

ace to the right-hand one. This is very effective indeed.

THE CHANGE.

This, as a sleight-of-hand feat with cards, takes precedence, for

bare-faced daring, of, perhaps, any other. It consists in deliberately

exchanging a card held in one hand for another in the pack held in the

other hand, and this in full view of the audience. Such a feat may

appear at first sight impossible, but, with a little attention and

practice, it will become as easy as any other, although it will always

demand some care and address in execution. There are various methods

by means of which the change is effected, of which the following

three are perhaps the best. For simplification of description we will

suppose that the ace of diamonds is to be exchanged for the ace of

clubs.

_First method_: Hold the pack, with the ace of clubs on the top, in

the left hand, between the first finger and thumb. The other fingers

should be so disposed under the pack as to leave a space between the

first and middle fingers. This space, is for the reception of the card

to be exchanged, in this instance the ace of diamonds, which is held

between the first and middle finger of the right hand. To effect the

change, bring the hands momentarily together, and place the ace of

diamonds between the first and middle fingers of the left hand; the

thumb and first finger of the right hand taking, at the same time,

the ace of clubs from off the top of the pack. Just before executing

the change, the thumb of the left hand should push the ace of clubs

slightly off the pack, so that it may be in a favourable position for

the finger and thumb of the right hand to seize. The action must, of

course, be instantaneous and unaccompanied by the slightest hesitation

or bungling. There must also be an auxiliary movement of the body

from right to left, without which it is exceedingly difficult, if not

impossible, to execute the change unperceived. The left hand must also

be taken away from the other, at the same moment, the feat being

practised until it can be accomplished in one movement, the hands

not dwelling together for the most infinitesimal period of time. The

learner should first practise by saying to himself, "Now here I have

the ace of diamonds, and, by simply rubbing it on this table" (here

give the body a half turn from right to left, and execute change), "I

will transform it into the ace of clubs." This form of address should

be used when exhibiting the change in this its most simple form before

spectators. The chief principle to be engrafted on the mind is, that

the first half of the change is performed with the right hand and the

second half with the left--the two movements being interwoven, as it

were, with the body swing. On no account must the hands be brought

suddenly together and then parted as if something had been snatched

away. This method is the one in general use, and, for ordinary

purposes, I can scarcely recommend any other. By its means, it is as

easy to exchange two, three, or more cards for others as a single

card. The cut (Fig. 36) illustrating this change shows the two hands

in actual contact. It will be seen that the actions of leaving the one

card and taking the other are simultaneous.

[Illustration: FIG. 36.]

[Illustration: FIG. 37.]

_Second Method_: By the first method it will be seen that the card

first shown is left, after the change, at the bottom of the pack.

This result is not always desirable. When the cards have to be, as

is sometimes the case, changed back into their former positions, the

card must be left at the top at each change. In this instance, the

ace of diamonds must be held between the thumb and first finger of

the right hand; the ace of clubs being, as before, at the top of the

pack, and slightly pushed off by means of the thumb. On the hands

being brought momentarily together, the ace of clubs is seized between

the first and middle fingers of the right hand, the ace of diamonds

being left on the top of the pack. The thumb of the left hand is

utilised in detaining the ace of diamonds, which, without its use,

would probably fall on the floor. The first finger of the left hand

must be kept well out of the way, or it will interfere with the smooth

passage of the cards. Fig. 37 represents this change just as the

hands are brought together. Noise is more likely to be made by this

change than by the preceding one, so care must be taken to avoid it

as much as possible. The "three card trick," so much in vogue amongst

card-sharpers in wheedling money out of the pockets of greenhorns,

becomes very amusing when worked by means of this change. The usual

shifting about of the cards upon the table must be executed in the

most childishly simple manner, which will not much matter, as you will

take care to speedily change the card to be found, for one on the top

of the pack. When the spectators have amused themselves for some time

in endeavouring to find out a card which is not there at all, you will

change it back again.

[Illustration: FIG. 38.]

_Third Method_: Hold the pack in the left hand, with the ace of clubs

at the top. Take the ace of diamonds in the right hand, between the

first and middle fingers, and, bringing it briskly across the pack

from front to back, take off the ace of clubs by means of the first

finger and thumb, the ace of diamonds being left in its place. The

little finger of the left hand should be curled up behind the cards,

and so prevent more than the top one being removed, as will sometimes

be the case if this precaution is not observed. This change is shown

at Fig. 38.

Besides the part it takes in regular set tricks, the change is of

the utmost utility to the conjuror in cases of emergency, especially

when he makes, as he infallibly must at various times, a mistake. On

eventually producing a card which turns out to be a wrong one, the

performer must not appear in the least discomfited, for that would

commit him at once, but ask the chooser of the card if the one now

exhibited really is what he or she states it to be. Of course, an

affirmative will be received in reply, and the performer must say,

"Well, I would not for worlds contradict you, but really I think

in this case you are wrong. Will you, madam" (here give the card,

rapidly changed in the transit to someone else), "say if this card is

the seven of diamonds, which this gentleman says it is?" As it has

been changed for the ten of hearts, or whatever the desired card may

be, a laugh will ensue, and it will appear as if the climax of the

trick had been arrived at, and no one will know that you intended

doing anything else. One of the great arts in conjuring is that of

turning all mistakes and unexpected occurrences to the best advantage,

and a thorough knowledge of all the various artifices and dodges is

necessary to accomplish this.

THE PALM.

"Palm a card!" exclaims the reader, "how can one possibly palm a

card?" Not after the manner of a coin, certainly; but, after the

proper method, the palming of a card--_i.e._, the concealing it

unnoticed in the hand--is not at all difficult. It is as important as,

and, next to the pass, more used than, the other sleights with cards,

there being a continual demand for its assistance. To palm a card in

the right hand, take it in the left, across the middle, and place it

in the right, so that the top left-hand corner is against the inside

of the little finger, and the bottom right-hand corner against the

fleshy part of the thumb. This pressure is quite sufficient to hold

the card, but other parts of the hand and fingers will render a slight

assistance. This, unless one possessed an enormous hand, would be

impossible of accomplishment with the ordinary playing-cards, hence

the necessity for using those of smaller dimensions. When the learner

can palm the card tolerably well, he should learn to secrete it from

its position on the top of the pack, under which circumstances the

palm is mostly used. The right hand must press upon the pack, and

when it is felt that the card is in position it must be slid off

sideways, not lifted. The hand containing the card should not be

held unnaturally flat, but considerably curved, care being taken not

to bend the corners of the card to any extent. The wand will, as

usual, be of use here, as, if held between the finger and thumb, it

will assist in disabusing the minds of the audience of the idea that

anything is contained in the hand. It is not very likely that they

will think so, for the idea that it is even possible to hold a card in

the hand, without its being discovered, never occurs to anyone. The

wand can also be held flat in the hand across the card, which is as

good a way as any. Palming is not by any means confined to a single

card, any number, up to a whole pack, being rendered invisible by this

method. When two or more cards are to be palmed from the surface of

the pack, they must be first slightly dislodged by the thumb of the

hand holding them, and held a very little--not more than a quarter of

an inch--above the others, just sufficient to enable the other hand to

palm them rapidly without disturbing the pack. The palm is, of course,

executed right in front of the audience, who never dream of what is

going on. To entirely vanish a pack, take it in the right hand, across

the back, lengthways, the thumb being at one end and the fingers at

the other. Stand sideways to the audience, and, bringing the hands

together, make a perpendicular swinging motion once or twice, as if

about to toss the pack towards the ceiling. Make a final and vigorous

toss, as if you had done so, and, with the left hand, press the cards

into the right hand. The wand should be under the arm during this

operation, in order that it may be at once seized by the thumb of the

hand concealing the cards. If it be not handy, the lappel of the coat

must be brought into requisition. It causes a good effect if the cards

are afterwards found inside the coat of one of the audience, with whom

you affect to be displeased thereat. You can also go down among the

audience, and pretend to give someone the pack with the left hand,

which must, of course, be so disposed as if it really contained the

cards. To do this requires a little confidence, and care must be taken

to hold the inside of the hand well towards the body, or detection may

easily ensue when one is quite surrounded by eager, prying eyes. The

simplest trick performed with the use of the palm is to ask someone

to look at the top card on the pack held in your left hand, and to

replace it. In the right hand you have a card palmed. Ask the name of

the card just looked at, and, on being told it, affect surprise, and

say that you fancy there must be some little mistake--you feel quite

certain that the card is not what it is stated to be. Of course, the

party who looked at the card, and who probably allowed it to be seen

by others, will be positive, so you say that you will show that you

are right. Bring the right hand over the cards in a similar manner

to that employed when about to perform the third change (Fig. 38),

and, with one movement, leave the one palmed on the top and pick it

off again. The picking off will be done very slowly, to show that you

really do take the top card. Finish up by palming the card originally

looked at, and remarking that you cannot understand how the mistake

occurred, "for here is the card in my pocket." Produce it from thence,

the hand containing the card being merely plunged into the pocket, and

slowly withdrawn, holding the card in the tips of the fingers.

Another very effective method is to stand sideways to the audience,

and hold the pack perpendicularly (the length being horizontal) in

the left hand, with the faces visible. In the right hand have a few

cards palmed, with the faces towards the hand. Suppose the seven of

hearts to be at the bottom of the pack in the left hand. Say that you

can change it by simply passing the hand across it, which you then do,

leaving one behind. If two or three are left by accident it does not

matter, the chief object aimed at being smoothness. Care will have to

be taken to have the end of the fingers of the left hand protruding

well, so as to be in readiness to take the card thus left on the seven

of hearts. The motion of passing the right hand over the left should

be an upward one, and the performer should practise to dwell as little

as possible over the pack.

The palm is also invaluable when anyone insists upon shuffling the

pack, so as to make sure of mingling the cards well. The card secure

in the performer's hand, the pack may be shuffled for a whole week

without much harm being done. With the palm and the pass shown at

Fig. 35 combined, a very pretty trick can be performed. It is

somewhat similar to one already described. Take four cards of any

denomination, and, cutting the pack into two halves, place one of the

four at the bottom of one half. Place the remaining three at the top

of the other half, which give to be held by a spectator, the three

cards being previously palmed, and put on the top of the other cards,

as you take them up to show the card at the bottom. Tell the person

holding the cards, which are supposed to contain the three, to keep a

very tight hold, and, tapping his pack with the wand, affect to take

one of the cards away and pass it into your pack. Give a flourish, and

pass one card to the front. The slight noise made by the pass will not

signify if you say, "Ah! you heard it go?" Repeat this operation with

each of the cards, when you will show all four at the bottom of your

pack, whilst the three will be found to have vanished from the one

given to be held by one of the audience.

_The Royal Marriages._--This is a very pretty variety of the foregoing

trick. Take the four queens from the pack, and place them on the

table, remembering the order in which the suits run. Take the four

kings (in the same order as the queens), and have them put in one

portion of the pack, which you have divided as before. If the kings

are placed in the centre, you can make the usual pass, palm them, and

put them, unperceived, on the top of the other portion of the cards,

and then let someone shuffle till he is tired. The trick now proceeds

very much as before, except that you commence operations by placing

one of the queens on the bottom of the pack held by you, which has

the four kings on the top. The lady is then supposed to call for her

husband, who, as in duty bound, arrives with all despatch. Then place

another queen at the bottom, and cause another king to arrive; and so

on until all have appeared. The effect of this trick will be lost if

the king of clubs arrives to console the queen of hearts, and so on.

They must come together in suits.

As the pass employed in this trick becomes difficult to execute when

many cards are held in the hands, eight or ten only should be taken up

in the first instance, as eight will be added during the performance

of the trick.

THE SLIDE.

[Illustration: FIG. 39.]

This is a very simple, but not, therefore, any the less useful, little

deception, which deserves to be brought more into use by conjurors

than it is. It consists merely in sliding back, in a particular

manner, the bottom card of a pack, with the fingers of one hand, so

that the other hand may remove the one next to it, and yet appear to

actually remove the bottom card. The particular method of holding

the pack is shown at Fig. 39. The cards are taken, face downwards,

in one hand, and the first and second fingers push back the bottom

card to the extent of from half an inch to an inch. Damp a finger

of the other hand, and apply it to the bottom of the pack, drawing

away the last card but one instead of the last. Thus, if, as in the

illustration, the seven of hearts is at the bottom, and the seven of

clubs next it, the red card will be exhibited to the audience at the

bottom of the pack, which is then turned over. The seven of hearts

is then ostensibly taken from the bottom of the pack (the seven of

clubs being taken instead), and then made to change, whilst covered

by the hand of a spectator, from the heart to the club suit. This

is the simplest form in which the deception can be employed. It is

very useful in demonstrating to the audience that a chosen card is

neither at the top nor the bottom of a pack, when it is actually at

the bottom. A card or two can be taken from the top, and then a few

from the bottom, the actual bottom card being slipped aside. After

taking off cards in this manner, always ask whether you shall take

any more away, and so disarm the suspicion that you know the position

of the card, and have only removed a certain number of cards so as to

ultimately reach it. Should anyone not be satisfied, but demand to

have the pack turned over, you must comply, making the pass as you

turn the cards over. This will bring another card to the bottom; but,

if you do not remove the finger from between the two portions, the

pass can afterwards be repeated, and the cards brought back to their

former positions. This is a ruse which will naturally occur to most

conjurors when performing.

THE FORCE.

This is the last of the elementary principles to be learnt, and in a

highly important one. It is hardly a feat of sleight of hand, although

requiring considerable practice and determination to carry out

properly. The act of forcing a card consists in inducing the chooser

of a card to select from those proffered by you any particular card

you please. As will hereafter transpire, it is highly essential for

some tricks that a particular card, and none other, be chosen. The

best method is as follows: Have the card which you desire to have

selected at the bottom of the pack, in which the finger is inserted

ready for the pass. As you advance for the purpose of presenting the

cards, make the pass and allow the middle finger to remain under

what was the bottom card, now somewhere in the middle. Spread out

the cards, keeping them in constant motion, and as the chooser's

hand is put forward to select a card, the middle finger should run

the desired card into it. This action must be performed as naturally

as possible. There must be no distinct motion of _pushing_ the card

into the hand, the cards being so manipulated that it always appears

as if they were only just ready as the chooser's hand reaches them.

Usually the difficulty of forcing a card is very small indeed, persons

unacquainted with the ruse taking the first card that reaches their

fingers with charming simplicity. In the event of a failure, do not

appear in the least degree disconcerted, but "force" the card on some

more tractable person, and then ask a third party to choose between

the two cards selected. You will explain that your reason for having

two cards chosen is to prove that you do not "force" any card, and

then say, "Now, which card shall I take?" If the card you want is

indicated, say, "This one, then, I am to use for my trick;" but if the

other card is pointed at, then say, "This card I am to take away,"

and suit the action to the word. By this means you will appear to

have given the audience a free choice, and at the same time obtained

your own private ends. The beginner is sure to be nervous in forcing

a card, and he must endeavour to overcome the feeling as quickly as

possible. Some performers (I won't say conjurors) use what is called

a "forcing pack," viz., a pack consisting entirely of cards of one

particular kind, which will, of course, be that which is required for

the trick. As, however, it is utterly impossible to allow such a pack

to be examined, and highly disastrous to allow any number of the cards

to fall or otherwise become seen, the conjuror should disdain to

seek such adventitious aid as that afforded by a "forcing pack," the

possession of which generally causes the appellation of "duffer" to

attach itself to the owner.

With a command of the foregoing "elementary principles" the performer

may attempt anything with the cards, taking care, however, always to

rehearse any new combination carefully, lest it prove too much for

him in the hour of trial. As previously stated, tricks with cards are

without end, and the conjuror may vary his causes and effects at will.

I give, however, a few of the most favourite tricks, so as to afford

an idea of what may be attempted by the learner.

_La Carte Générale._--This is, perhaps, as pretty a trick as can well

be conceived. Force a card, say the eight of hearts, have it replaced

in the pack, and re-force it on someone else so far removed from the

first chooser that the possibility of their seeing that they have both

selected the same card is avoided. Have the card replaced in the pack

and re-force, repeating the operation four, five, or six, or even more

times, according to the size of the room and number of the audience.

Now and then it is as well to pass the card to the top, palm it, and

then have the pack shuffled by one of the audience, or, at least, to

shuffle it yourself. When you have forced the card a sufficient number

of times, bring it finally to the top of the pack, from which select

haphazard a card. Show this card to one of the choosers, and ask if it

was the one selected. A negative will of course be given. Look neither

surprised nor satisfied, merely exclaiming "No?" inquiringly. Show the

card in turn to each of the persons who selected, asking if it belongs

to them. When you have completed the round, turn to the first chooser,

changing the card unperceived for the one (the eight of hearts) on

the top of the pack, and holding it in front of the person, face

downwards, so that no one can see what it is, say, "Well, since this

card belongs to nobody, will you kindly tell it to go away?" As the

words "go away" are uttered, run the thumb sharply along the edges of

the cards held in the left hand, and "flip" the eight of hearts with

a finger of the right hand, so leading the audience to believe that

some miraculous change had taken place. Now hold the eight of hearts

to the person whom you addressed, saying, "Is not that your card?"

On receiving, as you will, a reply in the affirmative, turn the card

face downwards and proceed to the next chooser of a card, and so on,

until all are satisfied. As all are supposed to have chosen different

cards it is imagined that each card is invisibly changed for the

next one required. Commence another trick immediately, or otherwise

divert the attention of the audience, or the drawers of cards will

begin to "compare notes," and so discover that they all drew the same

card. Although this discovery does not actually spoil the trick, it

diminishes the effect immensely. It adds to the effect of the trick if

the performer pretends to place each card, as chosen, upon a table,

or other prominent place. Upon each occasion, however, he must change

the forced card for an indifferent one. The last time the eight of

hearts is actually placed with the rest. The supposed chosen cards are

then held up, fanwise, together, and the choosers asked if they do not

see their cards amongst them. As they all see the eight of hearts,

they reply in the affirmative, and thus the idea that only one card

has been selected is very unlikely to be entertained. To effect this

valuable addition to the trick, great facility with the change is

absolutely necessary, as it has to be so frequently executed.

_The Sympathetic Cards._--Palm a few (say, four) cards, and ask one

of the audience to take any number, without any reference to their

specification, from the pack. Suppose eight are taken: how many is

quite immaterial. Borrow a handkerchief; and after satisfying all that

there is nothing whatever in it, ask for the eight cards, to which

number add, unperceived, those you have palmed, and place the whole in

the handkerchief with great deliberation. Fold the handkerchief up,

and ask someone to hold it very firmly. Now have some cards drawn

from the pack. "Any number you please," you will say carelessly,

taking particular care that neither more nor less than four are

chosen, the "force" being here brought into play. You now ask the

person who selected the first batch how many are in the handkerchief,

and the answer in this instance will be eight. "Eight, and four I have

here, will make twelve, will they not? Now, sir," addressing the party

holding the handkerchief containing the cards, "please to keep a firm

hold whilst I pass these four cards into the handkerchief to join the

other eight." Make a movement as though you threw the cards towards

the handkerchief, palming them, and then have the handkerchief opened

and the cards counted. The beauty of the trick is that the audience

apparently selects the number of cards in each instance, the idea

of any previous calculation on your part taking place being thereby

precluded. Be careful to call attention to the number of cards in the

handkerchief, and to the number to be passed into it, or the effect of

the trick will be lost. This trick is sometimes performed without a

handkerchief, the cards being given to be held in the hand only. Which

method is the better is purely a matter of opinion, and the learner

may follow which he pleases. Do not allow the drawer of the second

batch of cards to examine the faces of them, or it will be noticed

that they did _not_ pass into the handkerchief, should anyone be 'cute

enough to look for them. This possible _contretemps_ can be avoided

by having duplicate cards palmed in the first instance, in which case

the faces of the cards should be shown to the audience, who will be

asked to remember them. This is decidedly an additional feature to the

trick, but it entails far more trouble. It is for the learner to try

these little things, and then retain or relinquish their use as he

finds it assist or trouble him.

Another way of performing this trick is to ask one of the company to

count thirty cards from the pack, and then to cut them roughly into

two parts. Taking one of the parts, ask a spectator to count them.

Suppose the number is sixteen. Taking them momentarily in the hands,

for the implied purpose of describing exactly what you wish done, you

place the four palmed cards upon the sixteen, and then instruct the

spectator to hold them very securely. Now count the other heap. There

will be fourteen cards, which number you announce to be quite correct,

sixteen and fourteen together making thirty. Pick the cards from the

table, and, in giving them to someone to hold, palm off four, taking

the wand in the hand to cover the constrained position of it. Now you

command four cards to pass from the heap last picked up to the one

first given to be held, and, when the cards are counted, this will be

found to have taken place. The trick may be reversed with success; the

ten heap having the palmed cards secretly put back, and given to be

held again, the twenty cards heap having four abstracted before being

finally parted with. The cards are then commanded to go back to their

original places. This method will possibly be found more difficult

than the first one, in which a handkerchief is used.

_The Permeating Card._--Have a card chosen, and, bringing it to the

top, palm it. Ask someone who is seated to hold the cards in two

hands, over the head, holding the pack in the desired position, and

about six inches beyond the person's reach. This will cause him to

rise slightly from his seat, when you instantly slip the card beneath

him, saying at the same, "No, don't stand up; pray be seated," and

allow the pack to reach his hands. The attention of the audience must

be directed to the pack, or the action of placing the card beneath the

holder will, perhaps, be perceived. The manoeuvre requires a little

care in execution, and it will be necessary to be as close as possible

to the person operated upon, and at his side. Ask for the name of the

card, and then command it to pass through the holder of the pack, who,

on rising at your request, will find that he has been seated upon it.

This trick usually causes much hilarity.

_Divination of Thought._--This is an ambitious and daring experiment.

Hold the cards upright, and fanwise, before one of the audience (a

lady for choice), and run them rapidly from right to left, or _vice

versâ_, in such a manner that only a very small portion of each card,

one excepted, is visible. The bottom, or front, card is carefully

concealed by the hand, so that it cannot be seen. The cards are run

so rapidly across that it is impossible to recognise any of them

by the very small portions of them exhibited by you; but one you

allow to be very much exposed, and on that one you place a finger,

and continue pushing the rest over in a rapid manner. Whilst thus

running the cards across, you ask the lady to kindly think of any one

of the cards she sees. As you take good care to show only one card,

you may rest assured that that is the one thought of, although it is

advisable, on being told that a card has been thought of, to inquire

if it were actually seen in the pack. Keeping the finger on the card,

turn the pack over, and then make the pass. The card can then be

produced after any method the performer pleases, but he should first

ask the name of the card (at which he has taken a glance), as there is

considerable uncertainty about forcing a card upon a person's notice

in this manner. In the event of the chooser naming a card other than

that manipulated by the performer, he must at once look through the

pack for it, and first palming it, boldly declare that it is not in

the pack, which he will give to be inspected. The card named can then

be produced from someone's pocket, &c. The method of passing the cards

fanwise from side to side, so as to expose the face of one card only,

should be practised in front of a looking-glass until the learner

is perfect. Perfection is the only degree in which it is allowed to

exhibit conjuring tricks, especially those with cards.

_To Cause a Card to Appear in any Position in the Pack, Counting

either from the Top or from the Bottom._--This, a very favourite

diversion in card tricks, is capable of being performed in many ways,

the best of which are given here. The method of procedure is to

bring the card either to the top or the bottom of the pack, after

due shuffling, &c., and then to ask one of the audience to name the

position in which it is to appear. If you have brought the card to

the bottom, then say, "At what number from the bottom shall the

card appear?" It will not answer to count it from the top. Suppose

the fifth card is decided upon, all you have to do is to slide back

(Fig. 39) the bottom card, which is the selected one, and draw away

the next card instead. When four have been thus extracted, draw away

the card itself, and the trick is done. This is the only method used

when the cards are counted from the bottom. In counting from the top

proceed as follows:

_Method 1_: Bring the card to the top and then make the pass in such

a manner that the two halves of the pack are facing each other,

after the method previously described in dealing with a single card.

This will cause nothing but the backs of the cards to be visible at

both top and bottom. Hold the pack in the left hand with the thumb

turned underneath it, and the fingers curled round the front side.

The selected card is at the bottom, and it is required to produce it

fifth. (For the sake of simplicity, I will suppose that the card is

required in this position in each of the methods given.) Count off,

one by one, four cards from the top, and then, whilst affecting to

examine the last one, or to recount those taken off "to make sure,"

thus drawing attention away from the left hand, turn the pack rapidly

over. This will bring the chosen card atop, and you have then only

to take it off and show it. The reversion of the pack must be very

rapidly and quite noiselessly made, and care must be taken that the

cards set evenly at the edges, or the audience will perceive that one

half of them are reversed: and although the elucidation of the trick

will not of necessity follow, yet it is just as well to avoid the

discovery if possible. If the pack be at the same moment handed to one

of the company, with a request to have the next card looked at, to see

if it be the right one, the action of reversing will be less likely to

be remarked.

_Method 2_: Bring the card to the top, and hold the cards in the

left hand as if about to deal them. Do not hold them quite squarely,

but let the thumb push off the upper ones in such a manner that each

card overhangs slightly the one beneath it. Now commence to take off

apparently the top card, but in reality the one immediately beneath

it. This is accomplished by exerting more power with the first finger

of the right hand than with the thumb thereof, the thumb of the left

hand at the same time putting sufficient pressure on to the top card

to detain it in its position. The top card is taken off with much

ostentation, when it is required for production. This deception

is capable of immense development, if assiduously practised, it

being possible to deceive those who actually know what is taking

place. If the learner has this method at his command, he need never

resort to any other, for he will never be discovered. This practice

of dealing the second card in lieu of the first is a common dodge

amongst card-sharpers, who are thereby able to retain all the good

cards, which they have previously marked, for themselves. I strongly

recommend the adoption of this method in preference to all others, but

it must be well executed.

_Method 3_: Bring the card to the top, and count the cards off in

regular order one by one. As the first card removed (now the lowest

of those dealt off) is the selected one, the fifth will naturally be

a wrong card. You appear surprised, and say that you must have made

some mistake in the counting. Gather up the five cards, the selected

one being at the bottom, replace them on the top of the pack, and ask

the chooser of the card to count them off himself. This time, the card

will, of course, turn up in its proper place. This is the simplest of

all the methods, and is now and then seen through; but not often. On

counting the cards off for the first time, they must on no account be

turned face upwards. If this were done, it would be at once perceived

that the chosen card was on the top in the first instance.

_Method 4_: Bring the card to the top, and hold the pack in the left

hand, in a position similar to that shown at Fig. 38, the little

finger being in this instance not curled up behind the cards. Place

all four fingers of the right hand well over the top card, almost

covering it, and the thumb well under the bottom card. Draw the hand

sharply away, bringing with it the bottom card by means of the thumb,

which it will be as well to damp a little unperceived. The rapid

motion will prevent the audience from noticing what has actually taken

place. When the time has arrived for so doing, show the chosen card

very slowly indeed, or even ask one of the audience to remove it, to

show that it really is in the desired position. In counting off the

underneath cards, use a fair amount of rapidity, and be careful not to

draw away more than one card at a time. The action of drawing off the

cards must be made towards the body, and not outwards.

_Method 5_: Bring the card to the centre of the pack, keeping the

finger upon it, and, when you have counted off four cards, make the

pass, thus bringing the card to the top. This method should only be

used when some sharp person insists upon looking to see if the card is

at the top or bottom of the pack.

After bringing the card to any number from the top or bottom, you

can offer to perform the still more surprising feat of causing it

to appear at any place indicated by the insertion of a pen or paper

knife between two cards. To perform this feat, which, by the way, is

a variation of my own, hold the pack as in Fig. 39, face downwards,

and, presenting the end to one of the audience, ask to have indicated

the place in which the card is to appear. When this is done, hold

the bottom portion by the finger and thumb of the left hand, across

the cards; and insert the first finger of the right hand, which is,

of course, holding the upper portion, into the space made by the

instrument of indication, from the front. Ask whether the person is

quite sure that the place indicated is the right one, and whether

another would not be preferred. This is to show that it really does

not matter what position is indicated. On receiving a reply in the

affirmative, draw off the top half rapidly, bringing with it, by means

of the ends of the fingers, as taught in describing the "slide,"

the bottom card also, and hold the whole up to the audience. This

manoeuvre defies detection, and possesses the advantage of bearing a

fair amount of repetition. Before commencing, it as well to show that

the card is neither at the top nor the bottom. As it is at the bottom

all the time, the slide will have to be brought into play, in order to

enable another card to be drawn away from the bottom and exhibited.

What lends great finish to the trick is the bringing the first finger

over the ends of the upper cards, as by this means the slipped card

can be immediately brought close against the others, and not allowed

to stand out away from them, which would give the audience the idea

that the trick had been clumsily performed, even if it did not afford

a clue to the secret of it.

_Card-boxes._--A well-known, but, when well executed, very effective,

trick is performed with the aid of one or two boxes, known as

"card-boxes." They are about half an inch deep, and sufficiently large

to hold a card very easily indeed; that is to say, there is a good

eighth of an inch to spare all round the card when it is in the box.

The boxes are black inside, and are furnished with a thin piece of

wood, also blackened, which is placed loosely within and fills up the

entire interior space. This piece of wood is the secret of the box,

for by its means a card is made to appear and disappear. Suppose that

the box is wide open, and in the right-hand half is placed the card,

whilst the left-hand half contains the piece of wood. If, on the box

being closed (which movement must be rapidly executed, or the wood may

unexpectedly fall out) the left-hand half is turned over on to the

right-hand half, the card contained in the latter will necessarily

be covered by the blackened piece of wood, and will appear to have

vanished entirely when the box is re-opened. By simply turning the box

over, the card will be made to appear.

The trick is performed by means of a duplicate card, which can

either be forced, and, after being placed in the box, made to return

invisibly into the pack whilst the latter is being held by one of the

audience, or the box may contain one of the duplicate cards in the

first instance. The other one can then be forced, replaced in the

pack, brought to the top, and palmed. The pack may then be examined,

after the card has been shown to be in the box, to prove that it

really has gone from it. The proper time for replacing the card in the

pack is immediately after the person has finished the examination.

You take the cards from him, and, placing the palmed card on the

top of the pack, make the pass, and so bring it to the middle; you

can then perform the operation of passing it invisibly from the box

back again to the pack, where it will, of course, be found. Opinion

is divided on the question of handing the box or boxes round for

examination. If this is done, the trick decidedly attains lustre

thereby, but, of course, the false wooden bottoms must be concealed

about the performer's person, and slipped in whilst retiring to his

table. In showing the boxes round with the false bottoms in them, keep

a finger on the latter, and knock the boxes about a good deal with

the wand to show they are solid, &c. In "passing" the card, either

from box to pack, or _vice versâ_, make a great show of taking it from

either place by means of the wand, on the end of which you seriously

declare you can distinctly see it. Conjurors are able to make great

capital out of doing simply nothing at all; and as it is impossible,

when performing with nothing, to make any mistakes, then is the time

to do the most extraordinary things. The trick with the boxes can be

varied by having two duplicate cards of different denominations, one

of each kind being concealed in a box. Say the cards are the six of

clubs and king of hearts. Force these cards from the pack and place

the drawn king in the box containing the six, and the drawn six in

the box containing the king. You have only to turn the boxes over to

effect the change, although you of course affect to bring it about

by magical means. You may then remove one six and one king from the

boxes, leaving one of each still concealed, and, placing them in the

pack, bring them to the top, palming them and proceeding as directed

for one card only. This makes a very pretty trick. The boxes are best

purchased from a conjuring repository, where they can be obtained

cheaply.

_To Throw a Card._--In a large room, throwing cards from one end to

the other has a very good effect. It is astonishing how few people can

throw a card, seeing how easy the feat becomes with a little practice.

But I suppose it is just this practice which stands in the way. The

card should be held across its end, the end of the first finger just

turning the outside corner. When in position for throwing, it should

rest upon the middle finger, which will be curved slightly for the

purpose. Bend the arm back until the card almost touches the chest,

and then throw it with considerable force from you, taking care to

give it a spin with the end of the first finger. If this spin, the

secret of the feat, is not given, the card will not travel three

yards, whereas a good thrower can send one thirty or forty. For long

throws, ordinary heavy cards should be used, but care must be taken

to elevate the trajectory, as such cards hurt severely when they

strike the face with full force, and serious injury might result if

one struck the eye. Mehây used to place one card across the back of

the left hand, and flick it off with the first finger of the right.

People with strong fingers may try this method, which will, however,

never send the cards farther than eight or ten yards. Some throwers

merely seize a corner of the card between the finger and thumb, whilst

others hold it between the first and second fingers--the latter being

a favourite method.

_The Revolution._--This, as an interlude, has a very pretty effect.

Take a full pack of ordinary cards, and throw them obliquely on the

table, so that they spread nearly across it, each card resting upon

the one next it. Run the eye along the cards, and see they are all

even, as a break will spoil the feat. Place the hand well under the

first (the lowest) card, taking care not to disturb the position

of those immediately next to it, and turn it suddenly over in the

direction of the other cards, which will, each in its turn, be made

to reverse their positions on the table. The first card must be more

pushed than lifted over; indeed, that end of it which is towards the

other cards must always remain on the table as if hinged there. If

they have turned over in good order, they may be turned back again by

the same means. The success of the feat depends upon the neatness with

which the cards are thrown down in the first instance. Simple as it

appears, very few persons can execute it neatly, or with many cards.

When the line is very long, considerable force will have to be applied

in turning over the first card. The cards may also be spread in the

shape of an arc, which has a still prettier effect, but considerable

practice will be required in laying the cards out. A more difficult

method still is to lay the cards along the forearm, and turn them over

there. Many will be the spills, however, in practising this feat.

_Prepared Cards._--Under the heading of "Sleight of Hand," the

words "prepared cards" may seem out of place; but one of the chief

articles in my creed is that a conjuror should know everything

appertaining to his art. Besides this, many tricks with prepared

cards require considerable sleight of hand in their performance; and

not infrequently their introduction is the means of defeating an

antagonistic and inquisitive element which will sometimes introduce

itself into an audience, members of which possess just that "little

knowledge" which is said to be "a dangerous thing."

_Cut Packs._--In some instances, it is very useful to have the edges

of the cards shaved off obliquely, so that one end is broader than the

other. When a card is taken from the pack, the performer should watch

and see if it is turned round whilst in the possession of the drawer.

If it be not turned, then he must reverse the position of the pack

before the card is returned to it. The cards may then be shuffled

any number of times, and the performer will always be able to find

the card by the fact of its broad end being where the other cards are

narrow. This ruse is but little known among amateurs. It saves a good

deal of passing, but it will not obviate the necessity for forcing.

_Long and Broad Cards._--This, a most useful preparation, consists

merely in having one or more cards in the pack a shade longer or

broader than the others. I, myself, never use more than one card so

prepared. When not forced, or otherwise actually in use itself, it is

very useful to place over or beneath other chosen cards, which will,

by its means, be easily found when wanted. My preference is in favour

of a broad card, as opposed to a long one: it is more easily found

by the finger when preparing to make the pass. As one cannot procure

single cards longer or broader than others, it will be necessary to

have the other cards shaved down a little, omitting, of course, those

intended to be longer or broader than the rest. It is not necessary

to go to a card manufacturer in order to have these operations of

cutting and shaving performed; any stationer or card-plate engraver,

who possesses a paper-cutting machine, will be able to do all that is

desired.

_Pricked Cards._--An excellent method for detecting given cards is to

have them pricked in the corners, very nearly through, with a needle.

The hole, or, more properly speaking, the indentation, should be made

on the back of the card, so that the face presents a little mound to

the touch. The card should be marked in each corner, so that it will

not matter which end of it comes to hand first. When it is desired

to mark more than one card in the same pack by this method, one card

should have one hole in each corner, another card two holes, another

card three holes in a triangular form, another card a line of holes

along each end, and so on. It will, however, be seldom necessary to

mark many. Card cheating is to this day often practised by this means,

cards of value of a certain suit being detected by the dealer as he

deals them out.

_The Chameleon Card._--Have two cards chosen, and bring one to the

top and one to the bottom. Take the pack, face upwards, and make the

single card slip pass from top to bottom, reversing the card during

the process. This will bring the two chosen cards back to back. Openly

take them up by one corner, but show only one card. Ask the name of

the other card, and, blowing on the two in the hand, turn them rapidly

round, and thus show the one at the back. Replace the cards at once in

the centre of the pack. Care will have to be taken that the cards are

very even when back to back, or it will transpire that two cards are

in the fingers, and not one only. This trick is sometimes performed

with the aid of prepared cards, the two--duplicates of which must,

in this instance, be "forced" from the pack--being gummed together

back to back. Supposing the cards to be queen of hearts and ten of

spades, the performer would thus proceed: Bring the ten to the top,

and the queen to the bottom, unknown to the audience. Produce, as a

single card, as if taken from the pack (you will, of course, have them

concealed about you), the prepared cards, showing the audience the

ten. In the left hand you will hold the pack, displaying the queen.

Prepare for passing the ten (_vide_ Fig. 35), which is at the back,

to the front, and then say, "Hey, presto, pass!" Turn the prepared

cards rapidly round, and at the time execute the pass, when the change

will have been effected. Palm the prepared cards, and give the pack

round to be examined. This method is useful when the performer is able

to execute the pass peculiar to the trick with one hand only. As this

is a very pretty effect, which may be introduced in all manner of

emergencies, two illustrations are given (see Figs. 40 and 41).

[Illustration: FIG. 40.]

[Illustration: FIG. 41.]

A very excellent variety of this trick is that described by Houdin in

his work on "Conjuring," and communicated to me by Professor Hoffmann,

to whose research the conjuring world is not a little indebted. Most

of us have seen the three cards forming a portion of the marvellous

and heterogeneous pennyworth offered to the public by a versatile

itinerant vendor. When spread open one way, the seven of spades only

is visible, and on being shut up and opened the reverse way, graceful

female figures or donkeys' heads meet the view; Houdin's trick is

framed upon this model, but, of course, very much elaborated and

improved. Indeed, it was a peculiarity of Houdin's that he never did

touch anything without improving it. The directions for the trick

under notice are as follows: Have a pack made with plain white backs,

each card being divided by a line diagonally from corner to corner.

Of the halves thus formed, one is to represent queen of spades, and

the other the ten of hearts. On the back of each card paint the ace

of clubs. Have a heap of cards near you, the three uppermost cards

of which are duplicates of those in the prepared pack, arranged in

an order which is known to you. If you prefer it, these cards can at

first be forced from an ordinary pack, and then given to be held in

the audience, which heightens the effect of the trick. Take one of

the three cards--for example, the ten of hearts--and, after showing

it to the audience, say that the fact of placing it with those held

in your hand (the prepared pack) will change them all into tens of

hearts. Taking care that the ten of hearts halves are farthest from

you when the cards are held faces downwards, as they must be, place

the card at the bottom, and, after a little nonsense, spread them all

out fanwise, with the faces towards the audience. Close them again,

and remove the ten of hearts. Then take up next card, the queen of

spades, and place that at the bottom, having previously taken care to

turn the pack round so as to bring the court card halves to the fore.

Repeat the operation of opening the cards as before, and reclose them,

discarding the queen. Now take up the ace of clubs and place it at the

bottom, or anywhere else you please. Give the cards a flourish, so as

to enable you to turn them completely over, and then open them once

more, this time displaying the backs to the audience. It is as well

to have the top card of the prepared pack quite plain at the back, as

it is not always possible to avoid showing it whilst performing the

trick. When the aces are shown, this card can be passed to the middle,

where the absence of an ace on its centre will not be noticed. The

beauty of this trick is considerably enhanced if the prepared pack be

palmed, and another ordinary one shown round for examination. When

this pack is returned to you, you place upon it the hand in which the

prepared cards are palmed, and, saying, "Now I take a few cards from

this pack," affect to do so. This at once disarms all suspicion of

any preparation. There is no necessity for using more than eighteen

or twenty prepared cards, and that number can easily be palmed with a

little practice. Some advise changing the packs altogether, but this

method I cannot recommend, as it entails a deal of extra trouble,

without a commensurate meed of effect. In "Grand Magic," a method

for changing packs of cards will be described in its place, and the

learner can then choose for himself. When well executed, there is no

prettier trick than the one described above.

_The Travelling Cards._--This is a pretty trick, and one that is

always much commented upon by spectators who have seen it neatly

performed. The performer has a couple of cards chosen, which he brings

to the top of the pack; then, addressing the company, he refers to

the notion that the sleeve of the coat is employed by conjurors

for their concealment. He deprecates the attempt, made by many

performers, to deny the immense aid afforded by this portion of the

attire, especially for the effective concealment of eggs, pigeons,

cannon-balls, and other articles equally easy of manipulation (this

as sarcastically as he pleases), and says he will now proceed to

demonstrate, conclusively, in what way the sleeve is employed. "So far

from there being any difficulty, ladies and gentlemen, in concealing

cards, in the sleeve, for instance, it is a very easy matter to cause

them to travel up or down with great rapidity, and invisibly. My

waistcoat, as you see, contains nothing." The performer cannot very

well unbutton and open his waistcoat before the company, so, to show

it is empty, he places his hand inside, and performs the action of

emptying sufficiently vigorously to dislodge anything that might be

there. He next palms a dozen or more cards from the top of the pack,

and then, extending the left arm, ruffles the edges of the remaining

cards. This act, he explains, has had the effect of sending a card

up his sleeve, and he affects to watch its progress. A jerk of the

arm is made, the contraction being caused, the performer says, by the

passage, by the card, of the elbow. Plunging the right hand into the

vest, the cards palmed are dropped there, one card only, taken from

the bottom, being slowly extracted. A second card is made to pass in

the same way, and another indifferent card extracted. The performer

now asks the choosers of the two cards on the top at what numbers

they shall pass up the sleeve. This feat is easy of accomplishment,

as the cards are taken from the bottom until the proper number has

been reached. When the cards in the vest have been exhausted, more can

be palmed, and the operation continued until all the pack has been

employed; but this finish is by no means necessary to the success of

the trick, which may be considered concluded when the two selected

cards have been withdrawn, although it is as well to continue passing

cards until no more are left in the vest.

_The Assembly._--In this trick, four cards are laid separately on the

table, in a row, and upon each card three more are placed from the

pack, making four heaps of four cards each. The company themselves

select one of the four heaps, which is found to consist entirely

of the four cards that were only just previously laid upon the

table, apart from each other, the remaining three heaps consisting

of four different cards each. To accomplish this, the performer

commences operations by picking out of the pack four cards of any one

denomination, say, the knaves. This is far better than having four

different cards selected, as the trick is one of startling effect,

and four picture cards are better for the purpose, apart from the

fact that no one in the company is called upon for an effort of

memory. The performer gives the four knaves to one of the company,

and seizes an opportunity for palming three cards. He now allows the

four knaves to be placed upon the top of the pack, which he holds in

the left hand, supplementing secretly the three palmed cards. He then

proceeds to deal off the four topmost cards, one by one, placing them

in a row, divided by a few inches, saying, as he does so, "Here I

place one knave, here a second, here a third, here a fourth." After

he has placed the fourth card, which will naturally be the only one

of the four that is really a knave, upon the table, he pauses for a

moment or two, and then turning it over remarks, pensively, "Ah! the

knave of diamonds," or whichever it may be. This is really to let

the spectators see the only knave there is, in order to convey the

impression that all the rest are knaves also, they being led to fancy

the performer looks at the suit of it for the purposes of the trick.

The remaining three knaves are now, of course, on the top of the pack,

the three palmed cards and one knave having been removed from above

them. It is open to the performer to place these three at once on the

top of the fourth knave, and this is generally done, but I do not at

all advise it. Invariably make a pass at this point, so as to bring

the three knaves to the centre of the pack, keeping the place where

they are well defined by a finger, or by a break in the pack. I then

place the three cards now on the top upon one of the three ordinary

cards, emphasising the fact that they come from the top. I then open

the pack a little lower down, and taking three cards from there, place

them upon another ordinary card. The middle of the pack, where the

three knaves are, is now reached unsuspiciously enough, and they are,

of course, placed upon the fourth knave. Three more ordinary cards,

from still deeper down in the pack, are placed upon the remaining

ordinary card, as much deliberation being paid to this last card

as to any other, or the conjuror's manner may reveal that he has

accomplished what he wanted, however unknown its precise nature may

be. The selection of a heap then proceeds precisely as described in

_The Lady's Own Trick_, first two, and then one being removed. The

four knaves are then shown together in the supposed selected heap.

A second method depends upon the neat execution of the pass, and is

to be commended because, each time three cards are placed upon one of

the four lying upon the table, they are first shown to be ordinary

mixed cards, and not knaves. Three cards are palmed, and placed upon

top of the four knaves, as in the first method, and the three ordinary

cards and one knave are placed in a row, as before. Three mixed cards

are then taken from any part of the pack, their faces shown casually,

and they are then put upon an ordinary card. This is gone through

three times, the knave being left till the last. As if by mistake, the

performer places the three cards, which he has shown to be mixed ones,

upon the cards in his left hand, instead of upon the knave on the

table. At this instant the three are passed to the bottom, the right

thumb at once taking off the three knaves, as though they were the

cards just placed there by mistake. On no account must the performer

make any apology; he need merely say, "Oh! that's wrong; they must

go here," and place the cards upon the knave. One must be perfect in

making the pass before attempting this method; but it is very easy

indeed to pass so few cards as three from top to bottom.

A third method is also accomplished by means of the pass, and is

preferred by many conjurors. The four cards are shown, and, as they

are being put upon the pack, the little finger is passed between the

third and fourth, three cards thus being above it. The insertion of

the little finger is in all cases greatly facilitated if the cards are

spread a little, fanwise, at the moment of placing them on the pack.

The three topmost cards (knaves) are immediately passed to the bottom,

leaving one knave on the top, and the little finger kept between them

and the rest of the pack. This card is then placed upon the table, its

face being accidentally (?) shown to the spectators, and three others

(ordinary cards) successively laid beside it. Three ordinary cards,

always taken from the top, are then placed upon each of the ordinary

ones lying singly upon the table, the audience seeing their faces each

time, and then the pass is made, bringing the three knaves from the

bottom back again to the top. These three cards are then placed upon

the other knave, which brings about the desired state of affairs. As

these three knaves cannot be shown to be ordinary cards, as was each

preceding set of three cards, I here recommend the conjuror to make

use of a little ruse of mine. It is to take off from the pack four,

instead of three, cards, the three knaves thus having an ordinary card

beneath them. Holding the edges even, so that only the lowest card

can be seen, the performer says, "Now I once more take three cards,

and"--here he turns them over, and, spreading them slightly, discovers

four cards, so he continues, "Oh! I see, I have taken one card too

many." He then removes the underneath card, and places the remaining

three upon the knave. To show the faces of three out of four heaps of

cards and not those of a fourth, causes suspicion to be thrown upon

the latter. By adopting the ruse described, this is ostensibly done;

at any rate, sufficiently so to satisfy the spectators, which is all

that is desired.

A fourth method is bolder still, and calls for a masterly execution

of the change. Matters progress precisely as in the second method,

except that the three knaves are always slightly pushed off the top of

the pack, ready to be exchanged at any moment. It is just as easy to

change three cards as one by the method illustrated at Fig. 36. The

fourth time is perhaps again the most favourable for the substitution,

as the performer may cover the action of changing by handing the pack

to be held. Holding the pack, with the knaves on the top, in the left

hand, and the three ordinary cards in the right, he should turn round

suddenly to someone on his extreme left, and somewhat behind him, when

every opportunity will be afforded for executing the sleight. Or the

act may be gone through by giving the last three cards to someone on

the performer's left to place upon the remaining uncovered knave, when

the same facility for an exchange will be afforded.

Yet a fifth method remains, which is a very fine one indeed, if the

performer should happen to be an adept at changing. To attempt this

method, he must be absolutely perfect in this sleight. The four knaves

are first thrown down upon the table, faces upwards. One is then taken

in the right hand, and three cards put upon it from the top of the

pack, held in the left hand. That is what the performer appears to do,

but, in reality, as he approaches the pack with the knave, the change

is effected, the knave being thereby placed at the bottom of the pack.

As he executes the change, the performer says, "I will now take three

more cards from the pack," and, under cover of the quite natural

action of bringing the knave into proximity to the pack, the change,

if only adroitly executed, will pass unnoticed. The three cards

required are drawn off by means of the right thumb, and the heap of

four placed at a corner of the table. A second knave is similarly

treated, followed by a third. Three knaves are now at the bottom of

the pack. The performer may now either make the pass, bringing the

three knaves to the top, and then place them upon the fourth, or else

he may say that he will take three cards from the bottom of the pack,

to show that it is immaterial to him from whence they come. As the

feat of changing three times in succession is materially assisted by

some freedom of movement, it is as well to place the four heaps at

the corners of the table, wide apart, the performer being thereby

compelled, in the eyes of the company, to move about a good deal. The

one great feature connected with this method is, that the four knaves

are shown faces upwards, until the very moment of their being placed

in a heap. In each of the last three methods, the selection of the

knave heap proceeds as described in the first method.

The five methods described give the conjuror his choice according to

his greater facility with the pass, the palm, or the change; and he

will also find that they are capable of far wider application, in

connection with other card tricks.

_Thought-reading._--Give the pack into the hands of a spectator,

and allow one card to be secretly chosen. Replaced in the pack, it

is passed to the top (or bottom), and a furtive glance taken at it,

the palm being employed, if necessary. Let three cards be chosen in

this manner, a fourth being forced, consequently previously known.

The object of this diversion is in order that the last card selected

may be placed in the pack by the chooser, and the cards immediately

shuffled, which will distract attention from the fact that this was

not done in the other cases, which, however, could be done after the

performer had glanced at the card, if necessary, which it is not, as

it draws out any trick too long to have the cards frequently shuffled.

The performer must be careful to remember the cards, and by whom

drawn. Taking the pack in his hand, he presents one end of it to a

card drawer, explaining that he is about to give an exposition of

thought-reading. Although there is no reason for failing, it is as

well not to make this announcement any earlier, in case of anything

going not quite rightly. The performer makes a great fuss about the

necessity for looking full in the eyes of the person drawing the card,

and pretends to arrive at the designation of the card by slow degrees,

saying to himself, but audibly enough to be heard, for instance, "A

red card--hearts--one, two, three, four, five, six, seven spots;" and

then, loudly, "The seven of hearts." Every incidental occurrence in

the behaviour of the persons whose thoughts are being read must be

taken advantage of; a want of alacrity in obeying instructions, for

example, tending to make the reading more difficult, the subject being

even left for the time being, and returned to after other cards have

been revealed. This trick has the advantage of bearing considerable

repetition.

A second method is as follows: The performer holds the cards in one

hand, and presents them to a spectator to cut, with the injunction

that the underneath card of the cut shall be removed, looked at, and

remembered. It is immaterial how many cards are thus chosen. As they

are selected they are replaced in the pack by the person choosing, the

performer turning his head away, if necessary, whilst this is being

done; or they may be put back together, and the pack shuffled by the

company. Simply by placing one end of the pack in the chooser's hand,

whilst holding the other end himself, the performer is enabled to

name the cards as before. This phase of the trick is accomplished by

means of a "cut force." Glancing at the bottom card, the performer

makes the pass, keeping the two packets apart by means of the little

finger. The card which the performer has seen is now at the bottom of

the upper half, and the pack is presented for cutting. As the four

fingers are along one side of the pack, and the thumb along the other,

the cut must be made lengthwise; and, as the little finger keeps

the pack open at the back, it must be made there. The person cutting

will notice nothing. Whilst the card is being examined, the performer

glances at the fresh bottom card, and, when the upper half of the

pack is returned to him, once more makes the pass, and presents the

cards to another person to be cut. Four cards are quite sufficient

for the effect; but, if the performer can remember others, he is

quite at liberty to increase the number. The finish of the trick

will depend upon the performer's ability to simulate the possession

of thought-reading powers. If he has been showing any card tricks

previously, with success, he may commence this one by saying, "I have

an idea that many here fancy I have a method for forcing certain

cards upon persons, such cards being previously known to me. Now, in

order to render such a proceeding quite impossible, I will ask this

gentleman to shuffle the cards thoroughly, so that I cannot know the

position of any one of them, and then have the cards cut haphazard."

This explains why the cut is used, and at once makes the trick appear

stupendously difficult.

The "cut force" here described may be successfully employed for the

purpose of reproducing cards that have been previously chosen, thought

of, &c.; one of the company being made to cut the pack at the very

spot where that card is situated, after shuffling, &c.

If the company appears still sceptical about the powers of mind

claimed by the performer, he may give a final convincing proof.

Placing the pack entirely in the hands of the company, he desires them

to select two or three cards. These cards are gathered by a spectator,

and given to another to hold, and afterwards placed by him in the

pack. The performer then presents his hand to each chooser, and reads

the cards as before. Unless the performer can execute the change with

certainty, he must not attempt this method, or ruinous exposure may

await him. About the first portion of the trick all is fair and above

board, the company selecting the cards as they please. The performer,

taking the pack in his left hand, then says, "Now, in order that I

may not get a sight of the cards, will some gentleman kindly gather

them in his hand?" Whilst this is being done, the performer must

watch narrowly whose card is placed first, whose second, &c. Taking

the three cards from the hand of the collector, the performer turns

to a spectator on his left, requesting him to hold them between his

hands. As he turns, he makes the change, the three chosen cards being

left at the bottom, and three indifferent ones removed from the top,

and given to be held. Great caution is necessary to keep the cards

well covered by the upper hand, so that the performer shall not see

them--his actual anxiety, of course, being lest any one else should

do so. By this time he has glanced at the bottom card, and, making

the single card slip pass, sees the next also, and the third soon

afterwards. Affecting to see mistrust in the faces of the company, the

performer says that perhaps it would, after all, be better to have the

three cards in the pack. For this purpose the pack is handed to the

person holding the three cards, who is directed to shuffle them with

the rest. The trick then proceeds as before. If the change is properly

executed, the effect of this trick is extraordinary, because the three

cards have, apparently, always been in full view of everyone; and even

if the performer had accidentally seen the face of the lowest one, the

others have certainly never been visible to him.

_A Game at Napoleon._--The performer forces five cards in succession,

as quickly as he can, and remembering the whole five. Practice in the

preceding trick will enable him to accomplish this, at first, rather

difficult task, in public, it being simple enough to remember five

cards when one has nothing else on hand at the same time. It is best

to force all five cards on one person, who retains them. If forced

upon different people, they must be afterwards collected in one hand.

Giving the pack to another of the company, the performer asks for any

five cards to be given him. This done, he tells the holder of the

forced cards that he is about to play a game at "Napoleon" with him.

For the sake of effect, he may allow one half of the company to see

his hand, the other half looking over the hand of his opponent. In

this way, universal interest is excited. Should the opponent have a

poor hand, the performer may give him the choice of saying how many

tricks he will declare. Should the opponent have at all good cards,

however, then the performer must say, "I declare first." What he

declares will, of course, depend upon the cards; but, in nearly every

case, he can go "Napoleon," one condition of the trick being, as he

will explain just before playing the hand, that the opponent must

play the cards as called for by the performer, who, of course, must

not make his antagonist revoke. With this proviso, it is wonderful

how often it is possible, even with the least promising cards, to win

all five tricks; the cases in which four only are possible being very

rare. A couple of sample hands will be instructive.

FIRST HAND.--The opponent's cards are:

[Ad] [10d] [Kh] [Jc] [7s]

The performer's being:

[Jd] [2d] [10s] [4s] [3h]

He declares "Napoleon," and the hand is played as follows:

1. Performer plays [10s] and calls for [7s]

2. Do. [4s] Do. [Kh]

3. Do. [3h] Do. [Ad]

4. Performer plays [Jd] and calls for [10d]

5. Do. [2d] Do. [Jc]

Had the performer's highest diamond been less than the opponent's ten,

then only four tricks would have been possible.

SECOND HAND.--The opponent's cards are:

[Kc] [9c] [Qh] [Ad] [8s]

The performer's being:

[10c] [5c] [7h] [2h] [5d]

He declares "four," and the hand is played as follows:

1. Performer plays [7h] and calls for [Qh]

2. Performer calls for [9c] and plays [10c]

3. Performer plays [2h] and calls for [Ad]

4. Do. [5d] Do. [Kc]

5. Do. [5c] Do. [8s]

Should the opponent, by any chance, hold an overwhelmingly superior

hand, such as, for instance, five high cards of one or two suits,

and the performer low cards of the same suit or suits, the latter

must say, as soon as he realises the state of affairs, "Ah! I see,

I haven't the ghost of a chance against you with this hand; have

I?" at the same time throwing down his cards, faces upwards, and

demanding a fresh hand. Of course, the astonishing part of the trick

to the spectators is the fact of the performer being able to call the

opponent's hand, card for card, and no one cavils at the absurdity of

permitting him to do so utterly regardless of the general rules of the

game.

The performer can, of course, make sure of winning the whole five

tricks every time, if he prearranges to give a poor hand to his

opponent; but a great deal of the fun lies in the fact of good cards

falling to insignificant ones. If the performer arranges to have

five fairly good cards, three of them of one suit, with a big one

at their head, on the top of the pack, it may be as well, as, when

he asks for five cards, they are sure to be given him from that

position ninety-nine times in a hundred. Should the five cards drawn

prove, by accident, the masters of them, then, of course, shuffle the

pack before asking for a hand from it. Personally, I like as little

prearrangement as possible about the trick.

_The Lightning Change._--This is an effective trick of my own, and

the outcome of practice at the single-handed pass shown at Figs. 31

and 32. The performer has several cards selected haphazard. How many

is not material, but four or five will be sufficient. These he has

placed in the pack in the ordinary way, and brought to the bottom;

an extra card, not one of those chosen, being added last of all. The

order in which the cards were replaced in the pack should be noted.

The performer stands sideways to the audience, with the left arm

extended, the pack being held in that hand perpendicularly, and not

horizontally--the faces of the cards, and not the backs, visible. The

thumb should lie well across the centre of the undermost card, and

the performer should ascertain by feel that he has it in his grip

before continuing the trick. The card that is exposed to view is the

added one, and it conceals the first card gathered in of the chosen

ones, which is naturally the undermost. The chooser of this card is

requested to name it, when the performer informs the company that,

if they watch closely enough, they will see the one card change into

the other. Anyhow, if they are unable to see it, they will infallibly

hear it. As this pass cannot be made noiselessly, the latter is a

very necessary remark to make. The change is not effected with the

hand held stationary--no pass ever is--a rapid movement, some six

inches in extent, and somewhat circular, being made towards the body

and back again. It is only a fraction of a second in duration, but by

the time it is completed the pass must be accomplished. Each card is

made to appear in turn, the performer taking care not to attempt the

pass until he feels the card well gripped by the root of the thumb;

otherwise, a fiasco may easily result. The pass may also be effected

whilst turning the pack face downwards and back again very rapidly,

but I do not find this method quite as good as the partially circular

movement towards the body, the cards sometimes flying out of the

fingers in a body, which is destructive to the success of the trick,

and highly disconcerting to the performer. The feat is ostensibly

exhibited as one of skill, and, when properly executed, invariably

affords astonishment; for, although the company are apprised of the

actual moment at which the cards change, and even hear the movement,

they can see nothing of what takes place.

This concludes the series of card tricks, and also the first part,

Drawing-room Conjuring. I have not pretended to describe--and,

indeed, the feat would be quite impossible--every trick capable of

being performed with the various articles mentioned. Every conjuror

who is what is popularly, if somewhat bluntly, termed "worth his

salt," will find out little dodges and variations in the course of

practice and exhibition; and I would advise no one who discovers a

method for arriving at any given result which comes to him easier

than any described by me, to follow my instructions in preference to

his own ideas. This advice more particularly applies to card tricks.

Conjuring, it must be borne in mind, is not like cricket, or rowing,

or shooting, or anything else; there is no _legitimate_ means of

arriving at anything through its medium. The wished-for result must be

produced by fair means or by foul.

Many tricks included in the first portion may be successfully

introduced on the stage. This is essentially the case with the more

showy card tricks.

FOOTNOTES:

[Footnote A: Since this was written, a great change has come over the

fashion connected with playing-cards, the large, heavy card giving

way rapidly to a smaller and more flexible article, the American

round-cornered cards occupying a prominent place.]

[Footnote B: Some conjurors (myself included) use the third finger,

but the little finger is the better one to employ, as it is more

removed from observation. It is more difficult at the commencement,

the digit being so weak; but the better execution it ensures repays

the extra trouble.]

PART II.--GRAND, OR STAGE MAGIC.