FINAL INSTRUCTIONS.
Having at length brought the beginner to that point where he will
first have to shift for himself in real earnest, I wish to leave him
in a position to do credit to my tuition, and, with this object,
impart a few hints for his guidance.
On the subject of practice, I would not say any more if I could.
By this time, it must have become so evident to everyone that
nothing can be brought to any degree at all approaching perfection
without assiduous attention to detail, that any repetition of my
often-expressed injunctions to practice would become nauseating. But
I ought to say something regarding the best method for learning new
tricks or sleights from the foregoing text. It is a bad plan to read
the description through, and then immediately try to produce the
result right away. The whole trick should certainly be read carefully
through first, so that the mind fully grasps what is required to be
done; but, after that, the hands should be made to follow, step by
step, the instructions given, and no progression made until it is
certain that all is correct up to each point. It will be readily
understood that my instructions have not been written without a large
amount of care, or without making a due allowance for the great
difference between teaching by word of mouth and by book. In many
instances, a single word explains a great deal; so, if the reader
scans the page carelessly, it is very possible that he may miss the
point altogether, and perhaps conclude, in his own mind, that I am a
charlatan and an impostor. With cards, this careful following of the
text with the hands is especially essential, and attention to it will
save much time, trouble, and annoyance at the outset, when everything
new will naturally appear difficult, if not absurd. Thus much for the
beginner. When he arrives at the dignity of an actual performer, let
him be careful to prepare, and learn by heart, a little set speech to
commence with, and also the accompanying talk for each trick. When he
has exhibited for a year or two, he will perhaps be able to dispense
with such preparation; but, at the commencement, few, if any, can
do without it. The first appearance before an audience is in itself
sufficiently unnerving, without any additional embarrassment in the
shape of a consciousness that you do not know what you are going to
say. Notwithstanding the most careful preparation, something is sure
to go wrong at first, and unexpected difficulties will crop up on all
sides, and to meet these successfully will require all the energies
of the performer. It does not signify how superior the individual's
natural aptitude or oratory may be--the task is too great for anyone
at starting.
For the first few "shows," it is as well to perform such tricks as do
not require the assistance of an attendant, for the performer must
be entirely master of the situation, and dictate to his assistant at
pleasure. This he could not do with freedom if he were uncertain about
his own powers. Let it also be borne in mind that assistants are like
money, which, when good, is a valuable acquisition, but, when bad,
only gets one into trouble. Have no assistant at all rather than a
bungler, or, what is, if possible, worse, one who endeavours to attach
to himself some degree of consequence in the minds of the audience.
Except when it is to assist the trick, he should never open his
mouth, and all his work should be done as silently and unobtrusively
as possible, without absolutely scurrying away. His presence on
the stage should be as brief as possible, and his appearance must
always be excused by the performance of some very insignificant and
subordinate task. The best assistant to have is one who looks so
stupid that the combined efforts of fifty conjurors could not drum
into him the method for making the "pass." The worst is the one who
conveys by his appearance and actions that he "knows all about it."
The spectators at once attribute the greater portion of the results to
his agency--not incorrectly, perhaps; but it is unnecessary that they
should have any cause to do so. On no account should the attendant
attempt to perform any impromptu act, however clever he may be, for he
is sure to confuse the performer by so doing, and so lead to awkward
results.
On many occasions, it is inconvenient, or, at any rate, highly
inadvisable, to take the conjuring table. At the houses of friends
it is exceedingly difficult to keep everything secret without being
absolutely rude. The host (possibly followed by a friend or two--"men
who understand things of this sort, you know, so you needn't be
afraid") is nearly certain to take the fullest advantage of his
position, and to penetrate into the performer's sanctum with all
possible alacrity, and there worm from him valuable secrets. Of
course, he wouldn't dream of telling anyone, not he; yet, somehow, if
the tricks are exhibited on another occasion, the juveniles display an
inexplicable and annoying knowledge of the why and the wherefore of
them. It is of no use to say, "Oh! but no one would take the liberty,"
and such like; my experience teaches me (and I do not think that I, in
particular, have fallen among thieves) that they do, so there is an
end of it. Such articles as multiplying balls, cups, reticules, &c.,
are easily put out of sight; but an unwieldy table is quite another
thing. Of course, immediately the trap in it is discovered, away goes
your reputation for miraculous sleight of hand; and, when you really
do exhibit a genuine specimen of it, you will not get credit for it.
No, no risks must be run on this head--that is, if the performer
cares anything for his reputation.
As an excellent substitute for the table, I have an oblong box, the
rough dimensions of which are 18in. × 8in. × 6in. It has a removable
sliding lid, and is covered with a dark cloth. In this I carry such
of my belongings as will go into it; so, when it is seen during the
performance, it is only regarded in the light of an ordinary deal
box. One of the 8in. sides, however, has a trap cut in it, with a
little bag inside the box for catching articles passed through. The
box, _minus_ the lid, and _plus_ such articles as would be ordinarily
placed upon the shelf, is brought boldly on, along with some of the
articles which the performer will first require, as a "blind." It is
placed carelessly down within three or four inches of the back of
the table, with the open side, naturally, at the back, and the trap
uppermost. The table itself plays the part of the shelf, and articles
are now and then placed upon the box, as they would be, in the usual
way, upon a table.
Another way, much more deceptive, is to have a trap made in the top
of an ordinary high hat. The crown lining should form the bottom of
a collapsible bag, so that the inside of the hat can be first shown,
but, so soon as it is placed upon the table brim downwards, the bag
falls down. The brim should be tolerably flat, as the hat should not
rock about. The crown itself will require some strengthening material,
such as very thick pasteboard, glued to it before the trap is cut out,
or the latter will curl up in an unseemly way. This trap hat serves
for vanishing articles only. Its presence is very opportune at times.
The presence of the shelf is by no means indispensable; indeed, I
may safely say that I do not require it myself, except in important
performances. If it be inconvenient to take the table, a programme
can easily be arranged so as to dispense with the shelf entirely,
but, if it can be used, then, by all means, make the most of it.
Young conjurors must avoid the error of adapting their tricks to the
shelf, instead of the shelf to the tricks. Experience will show what
an astonishing quantity of things can be concealed in the large breast
and tail pockets for hat "loading" purposes. The tail pockets will
carry a bundle of fifty cups with ease, and without fear of detection;
and when these can be introduced, and produced without once leaving
the audience, I need hardly say that the effect is considerably
enhanced. When you are using a table, be careful never to go behind
it without some good reason, and let your stay there be as brief as
possible. Stand at the sides as often and as long as you like.
The arrangement of the stage and the seating of the audience are
matters of vital importance, and due regard must be paid to angles
of vision. One of the greatest bug-bears a performer meets with in
private audiences is he (no lady ever sins in this way) who, under
pretence of being at hand in case of need, or by means of some even
more transparent excuse, plants himself, in close proximity to the
stage, between it and the body of the audience. It is all very well
for the reader to say, "Oh, but I would never allow that under
any circumstances!" If he be young, he will find that people will
patronise him, do what he may, or be as clever as he will; and it is
in the interest of the young beginner that I am making these remarks.
There will generally be somebody who thinks himself a privileged
person, and who will put himself just where he is not wanted. We know
what mean things people will do for money: to find out the secret of a
conjuring trick they will descend almost as low. I am not romancing,
but stating plain truths, such as have forced themselves upon me time
after time. Under these circumstances, the table should be placed as
far back as is possible or convenient, and, if little tables are used,
they should be well on one side and not too far forward. But more
important than this even is the placing of some large object, such
as a vase with flowers on a pedestal, a statue, or such like at each
corner, as it is from thence that the best view of the conjuror's
secrets can be obtained. A person stationed at a corner can see
half of what the performer does in the vesting line, and he has an
unfair advantage, which must not be permitted, when avoidable. If a
pianoforte be in use, by all means put it close to one of the corners.
Curtains are not of much use, as they are easily pulled aside. If he
have the opportunity, let the performer arrange the seats himself, and
also take the bearings of his table from the corners. Be careful that
no looking-glasses are in a position to reflect back to the audience
those things which are not meant for them to see, and have the light
as evenly distributed as possible; but do not have any candles or lamp
on the table. I object even to an upright candelabrum being placed at
each front corner. They are in the way.
Programmes are a decided addition, and they should be made as
interesting as possible without foreshadowing what is about to follow.
The cheapest way is to have a quantity printed, with the performer's
complete catalogue upon them, numbered, and then the numbers of the
tricks to be performed can be announced in any convenient way. This
will only do for private audiences. In performing in public the case
is entirely altered.
By all means call in the assistance of a pianoforte; but see that
the player of the instrument is one who will not be likely to
egotistically launch out into any brilliant fantasia. Waltzes,
and such pieces as can be stopped suddenly, should be chosen. The
performer must be as quick as he can between tricks; but to a waiting
audience one minute seems ten, so it is quite necessary to have a
little music when it is obtainable. The player should finish off
directly the performer comes on the stage, without waiting for any
word or sign. In such a trick as the _Rising Cards_ a little "magic
music"--of the gentle trickling order--will be found very effective.
The cards would ascend to the music.
The performer should always provide himself with a private programme,
to be hung or pasted up behind his screen, or wherever his retiring
place may be. On this programme should be detailed every property
of each trick, down to the veriest trifle, for on trifles, be it
remembered, often depends the whole success of a trick. It is also
well to have written down beforehand what articles should be upon
the shelf at the commencement of each part, and any preconceived
pieces of appropriate wit should be put against the particular trick
to which they belong. These precautions will save the performer--the
beginner more especially--a world of trouble and anxiety. As a trick
once written out is done for ever, it is as well to have each one on a
separate card. In this case the writing out of an elaborate programme
before each performance would be avoided, besides which the cards are
more portable. Have the properties of each trick complete. If a knife
be required in three tricks, have three knives, and not one, and let
this principle be observed throughout. It is as easy to take three
knives as one, and there is, besides, the comforting assurance that
one will be at hand when wanted.
Do not perform longer than forty-five or fifty minutes at a stretch.
Both performer and audience are the better for a short rest at the
end of that period, and an interval of ten minutes or so should be
allowed. This will enable the performer to re-arrange his shelf, which
should always be kept as clear as possible, and to remove articles
from the trap bags, &c.
Above all things, keep the hands warm, and for this purpose be
provided with a pair of woollen gloves, which wear indoors as well as
out, previous to a performance. No one can palm with a hand like ice.
I do not know that I can say anything more without repeating what has
already appeared in connection with such tricks as seemed to me to
afford the most appropriate opportunities; so my work is done.
To use the words of Byron, "I have nothing further to add, save a
general note of thanksgiving to readers, purchasers, and publishers,"
and to wish the learner all success--but only according to his
deserts--with as much true enjoyment as has been experienced by me in
the pursuit of SLEIGHT OF HAND.
[Illustration]
INDEX
PAGE
A.
Accommodating bottle, 316
Aces, congenial, 102
Action with rapidity, &c., 39
Addressing audience, style of, 60, 153, 161, 393
Animated skull, 390
Anti-gravitation ball, 343
Anti-spiritualistic tricks, 380
Apparatus, its uses and abuses, 258
Apples and ring, 50
And small eggs, palming, 168
In cups, 58
Arm, cutting, with a knife, 83
Arrangement of stage, 398
Article, changing an, 171
Ascending cards, 192
Ascent of articles in spiritualistic tricks, 383
Assembly, 136
Assistant, choosing an, 176, 393
Attached card, 101
Audience, seating the, 396
Style of addressing, 60, 153, 161, 393
B.
Bacchus' dovecot, 306
Maypole, 311
Bag, the egg, 274
Watch, 363
Ball and bottle, 308
Balls and cups, tricks with, 54
And plates, 80
Anti-gravitation, 343
Balls, concealing, 55
From a hat, multiplying, 353
Passing and vanishing, 55
Vanishing, 170
Vesting, 170
Wine-drinking, crystal, 308
Worsted, and coin, 256
Banker, the, 237
Bending watches, 362
Bird and card, 376
Cages produced from a hat, 356
Birds, vanishing small, 173
Blindfold feats, 378
Borrowed rings, exchanging, for dummies, 175
Borrowing handkerchiefs, 17, 63
Watches, 361
Bottle, accommodating, 316
And ball, 308
And dove, 306
And penknife, 44
And ribbons, 311
And tumbler, perambulating, 328
Magic wine, 316
Of ginger beer, 287
Bouquet, spirit, 384
Bowls of fish, 262
Boxes, card, 127
Drawer, 300
For watch, 364
Passing coin into, 21
Watch, 368
With trap, 395
Boxing coins, 21
Brazen rod, magi's, 324, 371
Breaking watches, 362
Broad and long cards, 131
Bundle of firewood produced from hat, 354
Burning a handkerchief, 62
Butterfly trick, Japanese, 74
C.
Cabbage and hat, 349
Cage, flying, 335
Cages, bird, produced from hat, 356
Candle, money-producing, 252
Passing handkerchief over flame of, without burning, 178
Cannon ball and hat, 346
Card and bird, 376
Tricks, value of, 88
Cards, ascending, 192
Assembly, 136
Attached, 101
Boxes, 127
Catching two, in the air, 102
Causing one to appear in any position in the pack,
counting from top or bottom, 123
Causing one to show itself on the top of the pack, 101
Chameleon, 132
Changing, 132
Changing two, 108
Clairvoyance, 379
Congenial aces, 102
Conjurors', 89
Cut packs, 130
Diagonal, 96
Egyptian pocket, 187
False shuffle, 99
Forcing, 117
Hatched, 205
La carte générale, 119
Lady's own trick, 105
Lightning change, 146
Long and broad, 131
Marking, 177
Missing link, 190
Napoleon, a game at, 143
Obliging bouquet, 202
Palming, 112
Passes with, 90, 106
Permeating, 122
Prepared, 130, 179
Pricked, 131
Reversed, 104
Revolution, the, 129
Royal marriages, 115
Salamander, 197
Sliding, 116
Sympathetic, 120
Thought-reading, 140
Throwing, 129
Travelling, 135
Tricks with, 88, 186
Universal, 119
Vanishing a pack, 186
Catching coins in the air, 14
Two cards in the air, 102
Causing a card to appear in any position in the pack,
counting from top or bottom, 123
A card to show itself on the top of the pack, 101
A stick or poker to stand on end, 344
Challenges, how to answer, 35
Chameleon card, 132
Changing articles, 171
Cards, 132, 146
Coins, 11, 32
Dice, 81
Two cards, 108
Chinese fire eating, 72
Lanterns produced from a hat, 356
Marbles, 70
Methods of conjuring, 70, 75
Rings, 296
Tricks, 70
Choosing an assistant, 176, 393
Clairvoyance, 378
Climax to the hat of plenty, 358
Coat, cutting person's arm through, 83
Coin and worsted ball, 256
Handkerchief, 183
Coins, banker, the, 237
Best kind for use, 38
Boxing, 21
Catching in the air, 14
Changing, 11, 32
Concealing, 12
Copper superior to silver, 34
Crystal plateau, 250
Dancing, 20
Extracting, from a glass of water, 24
Flight of, 255
Folding penny, 27
Hold them tight!, 242
Invisible transit, 232
Marking, 38
Minor tricks with, 9
Money changer, 247
Money-producing candle, 252
Palm practice with, 9
Passing into a hat, 13, 23
Passing many, 16
Passing or vanishing, 10
Passing through table, 12
Selecting, when blindfolded, 23
Shower of gold, 273
Showing hands empty while still containing, 177
Sleeving, 35
Substituting, 22
Tricks with, 9, 232
Vanishing, from a handkerchief, 17
Coin-vanishing tumbler, 184
Collecting eggs, 278
Common objects, tricks with, 39
Common palm, 5
Company, producing articles from the persons of the, 166
Concealing a ball, 55
Coins, 12
Cone and drawer-box, 304
Congenial aces, 102
Conjuring table, substitute for, 394
Conjuror's shelf, 156, 395
Cooking and making a pudding in a hat, 293
A "Welsh rabbit", 374
Copper coins superior to silver, 34
Cork, false, 30
Corks, Houdin's dessert of, 84
Corks, tricks with, 84
Cornucopian hat, 346
Cotton, cutting up piece of, 46
Crystal ball, wine-drinking, 308
Plateau, 250
Cup, passing one through another, 61
Cups and balls, tricks with, 54
And oranges, apples, &c., 58
From a hat, shower of, 352
Cut packs of cards, 130
Cutting a person's arm with a knife, 83
Up piece of cotton, 46
D.
Dancing coins, 20
Sailor, 339
Decanted handkerchief, 224
Deception and rapidity of action, 39
Dessert of corks, Houdin's, 84
Destroying a watch, 362
Devil's handkerchief, 182
Diagonal pass with cards, 96
Dice, changing, 81
Dictionary trick, great, 336
Die trick, Houdin's, with additional effects, 259
Distribution from a hat, 350
Dolls produced from a hat, 355
Dove and bottle, 306
Mesmerising a, 175
Dovecot, Bacchus', 306
Doves, vanishing, 173
Drawer-box, 300
And cone, 304
Drawing-room magic, 4
Dress for a conjuror, 160
E.
Eating fire, 72
Egg bag, the, 274
Orange, &c., produced from wand, 164
Eggs and small apples, palming, 168
Collecting, 278
Magician's, 183
Productive, 184
Egyptian pocket card trick, 187
Electric touch, 389
England, flags of Old, 295
Exchanging borrowed rings for dummies, 175
Extracting a coin from a glass of water, 24
F.
Fairy flower, 327
False shuffle with cards, 99
Feast of lanterns, Chinese, 356
Fiery hands, writings, &c., 387
Filter tumblers, 79
Final instructions, 392
Finding sweetmeats in a handkerchief, 65
Finger palm, 6
Fire eating, Chinese, 72
Firewood, bundle of, produced from hat, 354
Fish and bowl, 262
And ink, 265
Flags of Old England, 295
Flight of coins, 255
Flower, fairy, 327
Ring in, 183
Flowers produced from hat, 351
Flying cage, 335
Plume and seed, 291
Folding penny, 27
Forcing cards, 117
Fork or spoon through a tumbler, passing, 79
Fowl, resuscitated, 280
G.
Game at Napoleon, 143
Gant de Paris, 228
General instruction and management in stage conjuring, 149
Remarks, 149, 392
Ginger beer, bottle of, 287
Glass of sherry, vanishing, 77
Of water, extracting a coin from, 24
Of water, to invert, 271
Of water, ubiquitous, 267
Glass, talking, 384
Glove, gant de Paris, 228
Gloves suitable for conjurors, 398
Gold-fish and ink, 265
Trick, 262
Gold, shower of, 273
Grand, or stage magic, 149
H.
Half-crown wand, 237
Handkerchief, coin, 183
Decanted, 224
Devil's, 182
Finding sweetmeats in, 65
For egg collecting, 278
Lengthening a, 66
Passing through flame of candle without burning, 178
Restored, 210
Ring and wand, 49
Through the leg, pulling a, 64
Twisting, 69
Tying knot instantaneously, 68
Tying knot on wrist, 69
Untying knot in, by word of command, 65
Vanishing coins from, 17
Handkerchiefs, borrowing, 17, 63
Burning, 62
Knots, 218
Melting, 226
Sun and moon, 215
Tricks with, 62, 210
Vanishing and reproducing, 171
Hands, fiery, 387
To show, empty, while still containing coins, 177
Harmless shot, 282
Hat and cabbage, 349
And cannon-ball, 346
Bird cages produced from, 356
Bundle of firewood produced from, 354
Chinese lanterns produced from, 356
Cornucopian, 346
Distribution of presents from, 350
Dolls produced from, 355
Flowers produced from, 351
Making and cooking a pudding in, 293
Multiplying balls produced from, 353
Of plenty, 346
Of plenty, climax to, 358
Passing coins into, 13, 23
Rabbits produced from, 372
Reticules produced from, 355
Shower of cups from, 352
With trap, 395
Hatched card, 205
Hold them tight!, 242
Houdin's dessert of corks, 84
Die trick, with additional effects, 259
I.
Incubation by magic, 276
Ink and gold-fish, 265
Instruction and general management in stage conjuring, 149
Instructions, final, 392
Intervals during performances, 398
Introduction, 1
Of music in performances, 397
Introductory stage tricks, 161
Inverting glass of water, 271
Invisible transit of coins, 232
J.
Japanese butterfly trick, 74
K.
Kling-klang, 281
Knife and squares of paper, 42
Cutting a person's arm with, 83
Swallowing, 85
Knot on the wrist, tying a, 69
That will not draw tight, tying a, 67
Tying instantaneously, 68
Untying at word of command, 65
Knots in handkerchief, 218
L.
La carte générale, 119
Lady's own trick with cards, 105
Lanterns, Chinese, produced from a hat, 356
Large objects from the hand, vanishing, 167
Leg, pulling a handkerchief through the, 64
Length of time for performance, 398
Lengthening a handkerchief, 66
Live stock and watches, tricks with, 361
Long and broad cards, 131
M.
Magical wine, 337
Magician's eggs, 183
Magic, incubation by, 276
Omelette, 332
Plateau, 185
Wine bottle, 316
Magi's brazen rod, 324, 371
Making and cooking a pudding in a hat, 293
Management and instruction in stage conjuring, general, 149
Manner when performing, 249
Marbles, Chinese, 70
Marking coins, 38
Maypole, Bacchus's, 311
Meddlers, punishment of, 151
Mesmeric suspension wand, 318
Mesmerised poker, 344, 382
Mesmerising a dove, 175
Mesmerism, sham, 378
Misdirection, 40
Missing link, 190
Money changer, 247
Tube, 239
Money-producing candle, 252
Mortar and pestle for watches, 362
Mouth, producing yards of paper from the, 73
Multiplying balls obtained from a hat, 353
Music, introduction of, in performance, 397
N.
Napoleon, a game at, 143
Nest of boxes, 21
Novel "Welsh rabbit", 374
O.
Obliging bouquet card trick, 202
Omelette, magic, 332
Oranges, apples, &c., in cups, 58
Produced from wand, 164
Vanishing, 170
Vesting, 170
P.
Palm practice with coins, 9
Palming cards, 112
Coins, 5
Common, 5
Finger, 6
Proper, 5
Quick, practising, 17
Reverse, 7
Small eggs, apples, &c., 168
Sugar, 40
Thumb, 6
Use of the wand in, 12
With both hands, 22
Paper and knife, 42
From the mouth, producing yards of, 73
Passes with cards, 90, 106
Passing and vanishing a ball, 55
Articles through traps, 158
Coins, 9
Coins into a hat, 13, 23
Coins through a table, 12
Fork or spoon through tumbler, 79
Many coins, 16
Penny into soda-water bottle, 27
Ring into an egg, 334
"Patter", 154
Penknife and bottle, 44
Penny, folding, 27
passing, into soda-water bottle, 27
Perambulating bottle and tumbler, 328
Walking stick, 382
Performance, length of time for, 398
Introduction of music in, 397
Performer's private programme, 397
Performing, manner when, 249
Preparations before, 149
Skill in, 346
Permeable plates, 80
Permeating card, 122
Pestle and mortar for watches, 362
Plateau, magic, 185
Plate, vanishing a, 78
Plates and balls, 80
Permeable, 80
Plenty, hat of, 346
Plume and seed, flying, 291
Plumes, shower of, 326
Pocket, Egyptian, card trick, 187
Poker, mesmerised, 344, 382
Or stick to stand on end, causing, 344, 382
Preparations before performing, 149, 392
Prepared cards, 130, 179
Presents distributed from a hat, 350
Pricked cards, 131
Private programme, performer's, 397
Producing articles from the persons of the company, 166
Yards of paper from the mouth, 73
Productive eggs, 184
Programmes, 397
Performer's private, 397
Properties and sleights for general use, 163
Pudding cooking and making in a hat, 293
Pulling a handkerchief through the leg, 64
Punishment of meddlers, 151
Putty watches, 362
R.
"Rabbit," cooking a, 374
Novel "Welsh", 374
Rabbits produced from hat, 372
Reproducing, 373
Tricks with, 372
Rapidity and deception of action, 39
Remarks, general, 149
Repetition of tricks, 152
Restored handkerchief, 210
Resuscitated fowl, 280
Reticules produced from a hat, 355
Reversed card, 104
Reverse palm, 7
Revolution of cards, 129
Ribbons and bottle, 311
Ring, flying, 183
Rings and apple, 50
And wand, 51
Chinese, 296
Exchanging borrowed for dummies, 175
Handkerchief, and wand, 49
Inside an egg, 335
Palming, 49
Tricks with, 49, 334
Rod, Magi's brazen, 324, 371
Roll, watch in, 178
Royal marriages with cards, 115
S.
Sack trick, 338
Sailor dancing, 339
Salamander card, 197
Seating the audience, 396
Second sight, imitation, 378
Seed and flying plume, 291
Selecting a coin whilst blindfolded, 23
Sham mesmerism, 378
Shelf, the conjuror's, 156, 395
Sherry, vanishing a glass of, 77
Shot, harmless, 282
Shower of cups from a hat, 352
Of gold, 273
Plumes, 326
Shuffling, false, with cards, 99, 179
Skill in performing, 346
Skull, animated, 390
Slate trick, 386
Sleeving coins, 35
Sleights and properties for general use, 163
Sliding cards, 116
Small birds, vanishing, 173
Soda-water bottle, passing penny into, 27
Spirit bouquet, 384
Spiritualistic animated skull, 390
Ascent of articles, 383
Electric touch, 389
Fiery hands, writings, &c., 387
Mesmerised poker, 344, 382
Perambulating walking stick, 382
Slate trick, 386
Spirit bouquet, 384
Talking glass, 384
Tricks, 380
Writings, &c., 387
Spoon or fork passing through a tumbler, 79
Stage, arrangement of, 398
Conjuring, dress for, 160
General instruction and management, 149
Or grand magic, 149
Tables for, 155
Traps for, 156
Stick and poker to stand on end, causing, 344, 382
Style of addressing audience, 60, 153, 161, 393
Substitute for a conjuring table, 394
Substituting coins, 22
Sugar, palming, 40
Sun and moon, 215
Suspension wand, mesmeric, 318
Swallowing a knife, 85
A watch, 368
Sweetmeats, finding in a handkerchief, 65
Sympathetic cards, 120
T.
Table and dress, 156
Tricks at, 72
Tables, passing coins through, 12
Position of, 396
Selecting, 155
substitute for conjuring, 394
Talking glass, 384
Targets for watches, 365
Thought-reading with cards, 141
Throwing a card, 129
Thumb palm, 6
Time for performance, length of, 398
Touch, electric, 389
Transit of coins, invisible, 232
Trap box, 395
Traps for stage conjuring, 156
In high hat, 395
Passing articles through, 158
Travelling cards, 135
Tying a knot instantaneously, 68
A knot on the wrist, 69
A knot that will not draw tight, 67
Tumbler, coin-vanishing, 184
Filter, 79
Passing a fork or spoon through, 79
Perambulating bottle and, 328
U.
Ubiquitous glass of water, 267
Universal card, 119
Untying a knot at word of command, 65
V.
Vanishing and passing a ball, 55
Articles through traps, 158
Coins, 10
Coins from a handkerchief, 17
Doves, 173
Glass of sherry, 77
Handkerchiefs, 171
Large objects from the hands, 167
Oranges, &c., 170
Pack of cards, 186
Plates, 78
Small birds, 173
Vesting, 160, 170
W.
Walking stick, perambulating, 382
Wand and ring, 51
Half-crown, 237
Finding articles in, 305
Mesmeric suspension, 318
Passing down throat, 368
Purchasing, 3
Ring and handkerchief, 49
Use of, in palming, 12
Warm hands, necessity for, 398
Watches, bag for, 363
Bending, 362
Box for, 368
Borrowing, 361
Breaking, 362
Causing to appear on assistant's back, 367
Putty, 362
Reproducing, 364
Swallowing, 368
Targets for, 365
Tricks with, 360
Water, inverting glass of, 271
Ubiquitous glass of, 267
"Welsh rabbit," novel, 374
Wine bottle, magic, 316
Magical, 337
Wine-drinking crystal ball, 308
Worsted ball and coin, 256
Wrist, tying a knot on the, 69
Writings, fiery, 387
* * * * *
Transcriber's Notes
Minor punctuation errors have been silently corrected. Some
illustrations have been relocated. Part I and Part II have been
added to the Table of Contents.
Page 26: Changed "Alway" to "Always."
(Orig: Alway obtain possession of the wineglass)
Page 78: Changed "immmediately" to "immediately."
(Orig: between the legs, and immmediately covered with the napkin.)
Page 106: Removed duplicate "in."
(Orig: it is not in in general use, but forms almost a separate)
Page 164: "description" is probably a typo for "descriptions."
(Orig: one of the most wonder-inspiring description.)
Page 187: Changed "maufacture" to "manufacture."
(Orig: he was told to maufacture the card,)
Page 197: Possibly missing "be" before "burnt."
(Orig: half of the card which is to burnt doubled up and placed)
Page 220: Changed "hankerchief" to "handkerchief."
(Orig: and the body of the same hankerchief on the other side)
Page 264: Changed "that" to "than."
(Orig: trick even more wonderful that it is in its ordinary form.)
Page 314: Changed "fron" to "from."
(Orig: and pour out some liquid fron it,)
Page 314: Changed "unexpresed" to "unexpressed."
(Orig: for the unexpresed purpose of showing that it is glass,)
Page 349: Changed "unvailing" to "unavailing."
(Orig: great, but unvailing, efforts are made to extract the ball.)
Page 353: Changed "neccessary" to "necessary."
(Orig: great care being neccessary to prevent any of them falling)
Page 370: Changed "when" to "then."
(Orig: for a few seconds, when open it, showing, of course, nothing)