THE CORNUCOPIAN HAT.
ON SKILL--CANNON-BALLS--CAULIFLOWERS--THE
DISTRIBUTION--BONBONS AND FLOWERS--SHOWER OF
CUPS--MULTIPLYING BALLS: HOW TO MAKE AND HOW TO PRODUCE
THEM--BUNDLE OF FIREWOOD--RETICULES AND DOLLS: HOW TO
MAKE THEM--BIRDCAGES--A FEAST OF LANTERNS--AN UNFORTUNATE
CLIMAX: HOW TO GET OUT OF IT--THE FLYING HAT.
One of the most taking of all the tricks performed by the many public
exhibitors is that in which a hat is borrowed from the audience, and
at once from its interior are produced a quantity of heterogeneous
articles, the nature and number of which cause, not only the greatest
merriment, but also the most unbounded astonishment that they
should ever have found lodgment in so unsuitable a receptacle as an
ordinary "chimney-pot" hat. The reader will hardly require to be told
that every article which is produced from the hat has first to be
introduced into it by the performer, and on the skill with which this
is done will the success of the trick depend. It must be understood
that there is no middle degree of perfection allowed in performing
this trick. No one must be able to say, "Yes; he got them in pretty
well that time--I hardly noticed him." The motion which accompanies
the introduction of any article or articles into a hat must be
absolutely unobserved by anyone of the audience. No extraordinary
degree of speed is required, for success will depend more upon the
completeness of the arrangements made by the performer for the
accomplishment of his designs than upon mere rapidity of movement,
which, as I have often explained, is by itself of no use whatever, it
being impossible for the human hand to make any movement openly so
rapidly that it cannot be followed by the human eye. The object of
the performer being to introduce certain articles into a hat without
detection, anything falling below this accomplishment is imperfect;
but, at the same time, anything which goes beyond this in a striving
to obtain an ideal perfection is useless, and results in a mere waste
of energy.
The essence of the trick being that it is (apparently, at least)
performed for the most part whilst surrounded by the audience, the
articles to be produced must be chiefly such as can be concealed
about the performer's person. Of such a nature, the reader will
doubtless be astonished to find, are, when properly constructed,
bird-cages containing live birds, quantities of ladies' reticules,
lighted Chinese lanterns, and many other articles entirely at variance
with any possibly preconceived notions of what might ordinarily be
contained in a hat. The beginner, however, will have to commence with
less startling productions than bird-cages, &c., and graduate in the
art, as it were.
_The Cannon-ball._--One of the commonest articles which it is still
the fashion to produce from a hat is a cannon-ball, or, rather, the
wooden semblance of one. This is introduced from the shelf, which
is provided with little hollows for the reception of such unstable
articles. It has a deep hole, just large enough to admit the middle
finger, and is so disposed that a hand placing a hat momentarily, brim
downwards, on the back edge of the table would be able to introduce
the finger without difficulty. The finger firmly inserted, the hat
is drawn off, and, naturally falling backwards, covers the ball,
which is furthermore curled into the hat by means of the finger.
If the ball were solid and made of any heavier material than wood,
this would not be possible of accomplishment. The usual method is
to have two cannon-balls, one a hollow one of zinc, blackened, with
a hole about two inches across made in it. This hole is covered by
means of a sliding lid, which lid has a smaller hole in it for the
introduction of the middle finger. The ball is filled with articles,
almost invariably purchases made at a baby linen warehouse, which
are produced, with all possible effect, one by one, before the ball
itself. Sometimes the ball is packed as tightly as possible with
feathers, in which case a very large quantity can be produced, a small
pinch from the ball sufficing to apparently fill the hat, which should
be exhibited, ostensibly full, to the audience every now and then. If
feathers are used, a large cloth should be spread upon the floor, or
there will be a sad litter.
The introduction of the cannon-ball must not, however, form the
commencement of the trick, but follow on something else in which a hat
has been required. It would never do to borrow a hat and straightway
march with it to the table, there to execute divers entirely
unnecessary movements. Under such circumstances, the audience would
be surprised if something were not produced from the hat. There are
many tricks mentioned in which a hat is used. Whilst the result of
one of such tricks is being exhibited with one hand, the other can
easily introduce the cannon-ball, without fear of detection, if the
performer's manner leads the attention elsewhere. The ball safely in
the hat, the performer steps briskly forward to return the borrowed
article, and, just as he is about to put it into the owner's hand,
he makes a slight start, saying, "I did not notice it before, sir,
but there is a little something just at the bottom of your hat.
What is it? Something belonging to your little girl, I presume--a
pair of socks," &c. The articles are then deposited on a chair or
side table, and a motion made of returning the hat when "a little
something else" is noticed. The ball being by this time worked round
in the hat so that the opening is concealed from view, the hat can
be exhibited with the ball sticking inside. After remarking that
it is a very extraordinary thing to carry in a hat, and surmising
therefrom that the infant to whom the clothes just discovered belong
must be a "Woolwich infant," great, but unavailing, efforts are made
to extract the ball. In order to make it appear to stick in the hat
(which sticking makes its presence there at all seem all the more
inexplicable), invert the hat, and introduce a forefinger from each
hand beneath the ball. The whole can be then well jerked two or three
times. It is at length got out by the assistance of your attendant,
who is directed to give it to the gentleman to put in his waistcoat
pocket. For the sake of effect he staggers towards the audience, but
the performer recalls him, saying that he will send on the articles by
parcels delivery. Whilst this is being done, the wooden ball is got
inside the hat, which is once more carried down towards the owner.
The discovery of more contents is made, as before, and the performer
remarks that had he known that the owner of the hat carried a complete
arsenal about with him he would have borrowed someone else's hat. The
hat is jerked as before, and at the third or fourth attempt the ball
is allowed to drop on the stage. This will confirm the idea in the
audience that the first ball was solid, should there, by chance, be
any wavering on the point.
The only objection to this really very effective phase of the trick
is, that it has been done so often; the consequence is that so many,
anticipating correctly that which is about to come, are better able to
divine the means by which it is accomplished. The best way to guard
against this is to introduce the features at unusual moments, taking
advantage of any favourable circumstance or opportunity that may
casually transpire.
A cabbage or cauliflower is often introduced into a hat in place of
the solid ball, and is very effective. A hole for the finger can be
made in the stalk, but it is advisable to push a tin tube into the
hole, or bind the outside of it with cord, as the stalk will sometimes
give way, and a disaster, in the shape of a vegetable falling
down heavily from behind the table, occur. In using a cabbage or
cauliflower, be careful to clean and dry it well on the outside, or a
hat lining may be spoiled.
_The Distribution._--The gratuitous distribution of bonbons,
flowers, &c., from a hat is, owing to the expense entailed, hardly
such a favourite variation of this trick with professionals as with
amateurs--that is, with those very few amateurs who are able to
execute it with any degree of success. It requires an unusual amount
of _sang froid_ and boldness, combined with a perfect dexterity.
When I can obtain nothing else, I use bonbons, but they are not the
best article to employ, on account of their bulk. The sweets known
as "kisses"--pieces of toffee wrapped in gold and silver paper--and
gelatine bags of sweets are far more showy, as so many more can be
introduced at a "load." The performer must have either some black silk
bags or else some pieces of black silk, in which the articles are
packed and tied with the thinnest cotton or silk, which need only be
just strong enough to keep all together. Three or four little parcels
should be made up and stowed away inside the vest and in the breast
pockets of the coat, where they can be reached without difficulty. The
performer then advances, with an orange or similar article concealed
in the hand, and borrows a hat. The hat is quickly taken in the hand
containing the orange, and shaken, with the remark, "Why, you have
left something inside, sir." The shaking is to prevent the article
falling on the crown of the hat with a thud, which would too plainly
reveal the moment of its introduction into the hat, which is then
inverted, thereby causing whatever may be inside to fall out upon
the floor. All eyes, including more particularly your own, will be
turned towards it, and you seize the opportunity to introduce one
of your packages into the hat. The action of stooping to see what
it is that has fallen will naturally cause the hat in the hand to
come against the breast. The other hand is then introduced beneath
it, and the bundle slipped noiselessly in. The instant this is done,
obtain possession of the orange, and be as funny as you can about it
with the owner of the hat. You then discover other things in the hat,
and just before one bundle is exhausted introduce another. The most
extraordinary expedients will at times have to be resorted to for
accomplishing this, varying according to the position in which the
performer is placed. One movement that should always be tried is a
rapid three-quarter turn on the heel, during which a bag is whipped
in. Another ruse is to allow the wand or some of the contents of the
hat to fall, and so obtain a momentary diversion whilst stooping for
them. Any approach to hesitation will be fatal. When a fresh supply
has been obtained, turn the hat upside down, supporting the contents
with the fingers, and, shake it, thus appearing to show it empty. A
splendid ruse to adopt at such a moment, in order to intimate that the
hat is still empty, is to apparently read out the name of the maker
(which you have previously noted), and say that you will go to him in
future for your hats. Should there be no name, say you are sorry, as
you wanted to know where such curious hats are to be bought.
The introduction of flowers from the performer's person is not
advisable, it being impossible to keep them from being crushed.
They are best introduced from the shelf, and for this purpose the
following little arrangement will be found useful: Procure a tin or
zinc cylinder, about two inches in diameter, and two inches long.
Around the outside of this have affixed a number of small cylinders,
each capable of admitting the stalk of a flower. Such an article will
hold some thirty flowers at least, or even tiny "button holes" can be
employed. Round the cylinder pass some wire, a portion of which form
into a loop. The whole arrangement can then be suspended at the back
edge of the table, or behind a suitable chair. By having some packs
of cards introduced into the hat in the first instance, an excuse
for going to the table or chair is obtained. Packs of cards make a
great show when the hat is tossed vigorously about, so that some of
the contents fly in the air and out on the floor. The last few can
be taken out by the hand and thrown in the air in such a manner as
to flutter as much as possible between the audience and the hat,
which is, at the same time, brought into the position favourable for
getting the flowers into it. The wire loop is easily found by the
fingers, and, on the hat being brought backwards, when the table is
used (forwards, with the chair), the bouquet is easily introduced. The
cylinder arrangement is often made much larger than two inches each
way, but no very increased effect is thereby obtained--certainly not
sufficient to compensate for the augmented difficulty in getting rid
of the article after it is done with. When made of the size I have
given, it is simply concealed in the hand, as are the bags or pieces
of silk in which the cards, &c., have been wrapped.
_The Shower of Cups._--Amongst other things, a favourite production
from hats is an enormous quantity of tin cups, very similar to those
used in the cup and ball trick described in "Drawing-room Magic,"
but much larger. These cups, being all of the same taper, fit well one
into the other, and, being also very thin, a large number can be well
put together without forming a very formidable pile. Fifty is a very
common number to introduce into a hat at one "load." The upper rim is
turned over outwards, to give the cup a look of great solidity, and
the bottoms are fairly thick, for strength. They should be wrapped in
silk, and the inside cup filled tightly with ribbons or cut paper,
or anything else that will make a great show when distributed. The
performer then walks about the stage tossing the cups out of the hat
with great rapidity on to the floor, occasionally placing a few on the
table upside down. A dozen or so on a table make a good show, and they
are also useful for concealing the bags and silk used previously for
containing other articles. Spread out a few in the hat now and again
and show it thus filled. Very few will suffice to fill a hat to the
brim. These cups are, perhaps, best purchased at conjuring apparatus
houses, their manufacture not being universally understood.
_Multiplying Balls._--These, which are by some persons considered
even more effective than the cups, can be made, for the most part, at
home, with a little expenditure of ingenuity and trouble. They consist
of an ordinary cloth ball covering, with an extraordinary interior,
consisting, as it does, of a tapering spiral spring. Although I have
succeeded in producing springs of the required shape by twisting wire
round a peg top, I cannot conscientiously recommend anyone else to
adopt a similar method of proceeding. A professed wire-worker would
do the thing much more satisfactorily in every way. The covering is
a very easy matter, and any one of the weaker sex may be confidently
entrusted with it. Six of these balls, when pressed tightly together
and tied with cotton, take up only a very little more than the space
that would be occupied by a single ordinary ball. Eighteen, or more,
in batches of six, can be introduced at one time if tied up in silk.
The cotton of one batch being broken, the hat will be entirely filled,
and the process can be repeated, the hat being each time shown to the
audience in a replete condition. A tray should be at hand on which to
place the balls, great care being necessary to prevent any of them
falling to the floor, which would at once reveal their unreal nature.
When the balls are used, as is not unusual, in conjunction with the
cups--that is to say, either immediately preceding or following
them--it is advisable to have an ordinary stuffed cloth ball, exactly
resembling the multipliers, inside the inner cup. This ball is allowed
to fall and roll towards the audience (accidentally, of course!),
who will require no admonition to examine it. The balls can also be
made to multiply in the hands. For this purpose, take one bundle and
spin it high in the air (be sure to spin it well), and, catching it
as it descends, give it a sharp twist, to break the cotton. As the
balls will all suddenly expand, the hands must be held very hollow
and kept close to the breast, against which they should be sustained.
Another method is to break the cotton, but prevent their bursting out,
and, holding up the hand containing them, with the back towards the
audience, roll the balls into view, one by one, by means of the other
hand. These effects are both good, but must be done with dash.
Both the cups and balls are best got into the hat from the shelf. The
safest way to get them is, in the first instance, to introduce the
cards into the hat, which, after shaking about, empty on the table
with a bang. A favourable opportunity for introducing anything is thus
made. Some conjurors have an arm protruding at the back of the table,
on which bundles of cups, balls, &c., are suspended, and got into the
hat by means of a sweep of that article. This is an excellent method,
when the performer does not make a bad shot, and sweep the whole on
the floor instead of into the hat. Bringing the hat round the end of
the table, and, tipping things into it from the corner of the shelf,
is a method in use, but it is a bad one.
_Bundle of Firewood._--Immediately after the taking out of a dozen
or two of balls or tin cups, the performer may, if his previous
arrangements tend thereto, proceed to extract from the hat a common
bundle of firewood, which, the company may see, entirely fills the
interior of the hat by itself. As, subsequent to the extraction of the
balls, the performer has not even retreated to the stage, the company
cannot but be at an utter loss to account for the presence of so
ponderous a body. The bundle of wood is, however, far from being what
it seems. That portion of it, the exterior, which is visible to the
company, is genuine enough, being firewood, but this is only an outer
layer glued upon a cylindrical shape of thick pasteboard, bound round,
so as to look real, with a piece of string taken from a genuine bundle
of wood. The bundle has only one end, made, of course, of pasteboard
also, and covered with half-inch lengths of wood, which will present
a perfectly real appearance. Into the open end are crammed the cups,
balls, or other articles, which, being produced, enable the performer
to subsequently extract the supposed bundle of wood without having
refilled the hat. Some bundles are made with both ends covered, one
end having a trap opening in it. This is to prevent the possibility of
the unreal nature of the article becoming known; but I really do not
see why both ends should ever be exposed; and, with the end perfectly
open, the extraction of articles is very much facilitated. The bundle
must, of course, be introduced into the hat from the shelf, it being
too decidedly bulky to carry about the person.
_Reticules._--A quantity of these articles are sometimes produced from
a hat. They are, as may be imagined, far from being the substantial
objects they represent. The ends fall inwards and lie flat on the
bottom, to which they are hinged by means of calico, and the tops,
sides, and bottom are hinged together also by means of calico, and
so double up. A piece of cord, tape, or thin leather strap runs
through two holes, about an inch apart, in the top, the ends being
affixed to the ends of the reticule, inside. A pull at the centre of
this cord, &c., raises the ends, which force the other portions into
position. The outside is covered with cloth, and otherwise decorated
to represent a small reticule. I have seen them made of playing cards
without any outer covering whatever. The result was, that the audience
saw through the whole thing at once, as was but natural. A dozen or
more of these reticules can be introduced at once, and they make a
good show. They can be easily made from playing cards, and afterwards
covered.
_Dolls._--Calico dolls, with spiral springs inside, can also be
effectively employed. A tolerably large one, introduced into the
cannon ball with the baby's clothes, is effective when produced last
of all. In any case they should not be less than 6in. in height. The
face and greater portion of the dress must be painted on, a few little
bows, artfully disposed, serving to make the doll look as substantial
as possible.
_Bird-cages._--This is a trick which ranks almost as high in public
estimation--the only gauge, by-the-bye, by which conjuring tricks can
be measured--as the gold-fish trick. The same principal feature--the
production of a substantial article, containing living things, from
such unsuspected regions as the interior of a hat, or the folds of a
handkerchief--is in both, and the audience is, in each instance, in
the same dilemma in endeavouring to explain where the article comes
from, and how the living creatures get into it. It may sound like
exaggeration to assert that two substantial cages, 6in. high, each
containing two live canaries or other birds, can be produced from a
hat from one "load," but such can be done, nevertheless. The cages
are of wire at the top and on the sides, the bottom being solid and
heavy. The sides are hinged to the top, under which they fold, when
the bottom, which slides up and down the sides, is pushed up. The top
being domed, the birds are safe therein, not as comfortable, perhaps,
as they might be, but still unhurt. The bottom pushed up and the sides
doubled under, the whole is scarcely 2in. in depth; and two cages,
placed bottom to bottom, and kept together by means of an elastic band
or by a thread, can be got into the hat from the coat breast-pocket
in the prescribed manner. To produce them, it is only necessary to
raise the upper portion, by means of the ring there affixed, and the
bottom will run down into its place, causing the sides to go into
their positions. These cages are also produced from handkerchiefs, in
which case it is usual to have them of very large dimensions. Herrmann
produced one at times which had to be concealed up his back, so large
was it. This was produced, without detection, in the very centre of
the audience.
[Illustration: FIG. 54.]
[Illustration: FIG. 55.]
[Illustration: FIG. 56.]
_Chinese Lanterns._--The production of six or more of these articles,
all ablaze, from a borrowed hat, causes an effect not far from
astonishing. The well-known collapsible nature of the articles would
render the production of a number of them from a hat a matter of no
great marvel were they unprovided with a light. What cannot be readily
explained is the feature of so many lanterns being alight in the hat
at one time without burning either the hat or one another, or, indeed,
how they can all be alight at one time at all. The secret lies in the
construction of the bottoms of these lanterns, and the positions of
the candle or wick holders. The bottoms are made of tin, and on one
only of each series of lanterns is the candle holder placed in the
centre. This lantern I will call No. 1 (see Fig. 54). No. 2 has the
holder a little on one side, and a hole through its centre to admit
of the candle or wick of No. 1 passing through it (see Fig. 55).
No. 3 has two holes, corresponding exactly with the candle holders
of Nos. 1 and 2, which pass through its bottom, and its holder is at
the side of the hole through which the holder of No. 2 passes. No. 4
has three holes, No. 5 four holes, and so on all through the series,
which generally consists of seven or eight, that number being about
as many as can well be managed at one time (see Fig. 56). As the
holder of No. 1 has to pass through the bottoms of the remaining seven
lanterns, it must, of course, be very long. The holder of No. 2 will
be a little shorter, and the next shorter still, that of No. 8 being
of the ordinary length. By this means all the wicks will be on the
same level when the lanterns are packed together. The tin bottoms do
away with any danger of a flare up, and also, from their weight, cause
the lamps to open easily, which is of great assistance towards the
success of the trick. The upper rims are also of tin, for strength and
security. A few sulphur matches, which strike noiselessly, should be
affixed to the upper rims of the topmost lantern, whereon should also
be some sandpaper, on which to strike the matches. The whole should be
tied together with string, and concealed in the breast pocket, from
whence they can be introduced into a hat in the midst of the audience.
The match struck, the wicks are all lighted almost simultaneously;
and, the flames burning the string, the performer is enabled to take
out the lanterns in rapid succession by means of a bent piece of wire
affixed to the rim of each. An attendant should be at hand with a
pole or broomstick, on which to hang the lanterns. A deep round hat
is better than a "chimney-pot," the extreme depth of which sometimes
causes the performer to burn his fingers.
This trick is well worthy the attention of amateurs, as it is but
little worked, the majority of performers being frightened at it, but
without any reasonable cause. Any tinman will make the plates and rims
cheaply, and the paper sides can be taken from the ordinary lanterns
and transferred, so that the trick need not be an expensive one, by
any means. An excellent title for it is "A Chinese Feast of Lanterns."
Always remember to hold the hat as high as possible when it contains
anything: premature disclosures of the contents mar the effect
considerably.
_Climax to the Hat of Plenty._--When the performer has a stage
attendant of average ability, he can conclude this or any other
trick with a hat in a very startling manner. The hat is given to the
assistant to return to its owner, and, just as he is leaving the
stage, he stumbles, falling heavily upon the hat, and flattening
it completely. The performer is of course in despair, and after a
slight scene the hat is eventually restored, it being found under the
owner's chair, or elsewhere. This exceedingly impressive and amusing
trick makes a very appropriate conclusion to a performance, and is
managed in two ways: Either the hat used in the preliminary trick is
actually the property of a stranger in the audience, and is exchanged
for the one to be destroyed, or a confederate brings it in with him,
and takes his seat on a chair or sofa, beneath which his own hat
has been previously concealed. In the first instance, the exchange
must be adroitly managed. The excuse of going off to brush it, and
returning immediately with the brush, is as good as any, although it
will always be subsequently apparent to thinkers when the hat was
exchanged, by whatever method the substitution is accomplished. I
may say at once that this method is not so good as the second; but
confederates are not always to be obtained when they are wanted.
Sometimes the performer borrows two hats, and whilst he is producing
something startling from one, his attendant quietly removes the other
and substitutes for it a duplicate.
By whatever means arrived at, suppose the exchange effected, or, what
is the same thing, the conjuror's own hat borrowed, and the assistant
lying prone upon the floor. He must then rise slowly, with a rueful
look upon his countenance, and, if any object, such as a tin cup, be
lying upon the floor, he must abuse it as the cause of the disaster.
The performer does not at first notice what has happened; when he
does so, he is, of course, greatly enraged with the assistant, and
assumes a very despondent look. He expresses his regrets to the owner
of the hat, and asks if he would like the hat done up in a small
parcel for convenience in carrying. Without waiting for a reply, he
and the assistant tear the hat up to little pieces, some newspapers
being produced and spread upon the table. On the shelf is a newspaper
parcel containing a crinoline, a large doll, or anything else that
is ludicrous in appearance. The shreds of what was recently a hat
are wrapped in a piece of the newspaper, with the exception of one
solitary piece, which is purposely allowed to fall upon the floor,
on that side of the table opposite to where the conjuror is standing.
When the parcel is made up, the performer notices this piece, and,
leaning well over the table, points to it, at the same time, under
cover of his body, effecting an exchange of parcels. The shred is
rolled up, and a pretence made of putting it in the parcel (it is, of
course, palmed), which is then given to one of the audience to hold
over his head. A pistol is fired, and, if the hat be borrowed from a
confederate, he is bidden to look under his chair, where, naturally,
his own hat will be discovered. If, on the other hand, the borrowed
hat be genuinely the property of one of the audience, it will be
seen to fly across the stage and attach itself to the top of the
proscenium, from whence it falls at the command of the performer,
and is caught by him. This additional effect is managed by passing a
black cord through a hole in the proscenium, and attaching it to the
hatband by means of a very large loop. The end to which the hat is
affixed must, of course, be removed from sight beforehand, the usual
place being behind the proscenium. The construction of the place of
performance will naturally have a good deal to do with this particular
matter, and the performer must study what arrangements will be best.
Wherever the hat is concealed, it must be thrown into the air when
the pistol is fired, and the cord at once gathered in as rapidly as
it is possible to do so. On the command for the hat to descend being
given, the large loop is cut through, and the hat falls. If the cord
were simply tied by a knot to the hatband, a piece of it would remain
attached after being cut away, and this would give a clue to the
mystery. After the hat is safely restored, open the parcel and exhibit
its contents.